Jesus Christ Superstar

The cast gave us a compelling drama with energy radiating from the stage. From the forbidding opening to the inevitable but moving conclusion, the cast propelled us through the last seven days of Jesus’ life. The show was characterised by strong principals, dynamic singing and fluid movement.  Steven Struthers as Jesus had a voice with an amazing range flexing it to the full to convey Jesus’ anguish. He showed experience in the role clear in his compassion and steadfast in fulfilling God’s will. The scenes in Gethsemane and on the cross were especially moving and overall his interpretation of the role was totally believable. He was well matched with Richard Leach as Judas, a troubled bystander from the first, principled but tortured by his betrayal of Jesus. The measure of success of his performance came in the suicide scene where for once the audience could have compassion for a man who has been ever vilified. In wonderful roles the scheming Pharisees were wonderfully nasty and their power and opulence clear in attitude and costume. The deep bass Douglas Muir as Caiaphas, the determined Frank Bent as Annas contrasted sharply with the poverty of the people. Eddie Gouther gave a colourful and quirky Herod, delivering the patter song with comic ease while Roland Russell as Pilate in the red suit showed all the ambivalence of the role. Allan Cochrane as Simon and Patrick Rafferty as Peter contrasted against these powerful figures and revealed the care, loyalty and very human behaviours of ordinary folk in a situation out of their depth. Striking in the only powerful female role was Carly Slamin as Mary Magdalene. Her rendition of I don’t Know how to Love Him was beautifully sung and heartfelt. In the crowd scenes Jesus’ followers sang and moved rhythmically and with love before switching to mob thirsty intent as they demanded the crucifixion. Memorable moments were the seductive dancers in their red, the scourging scene behind the gauze, the eerie disembodied singing in the background and Jesus carrying the cross through the audience, only bested by him being carried out by his weeping followers. This production was in the best traditions of amateur theatre, punching a phenomenal impact.

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