Jesus Christ Superstar

This was an impressive, powerful and emotive performance. What you were aware of at the start was the huge open space of the stage like an arena or amphitheatre with no hiding place for Jesus who was surrounded by adoring fans and reporters trying to catch his every move. You discerned Judas circling and moving in and out of the crowd – Was he being protective? Jealous? Spurned? Then the cast was lined at the sides surging and ebbing round Jesus the rock star, anonymous in black so they could change from adulation of the star to the baying accusers, salivating for Jesus’ crucifixion later on. And Mary Magdalene in red stood out as supporter and loyal to the end. The tableaux kept coming: the modern rock festival element, the actual painting of the banner, the malleability of the crowd contrasting with the rigidity, stance and stature of Caiaphas and his pals seeing the danger of Jesus and picking out the weak: their contempt when they paid Judas; the bare steps which were pushed around and lit up giving dominance to the powerful and the focus of the crucifixion; the simple layout of the Last Supper; the unusual staging of Judas’s death and the scenes with Pilate before the scourging and death of Christ - and there was more. This clever staging promoted the story and left the cast to characterise their roles and they did this superbly with singing that never missed a beat. The score absorbed us from the start - loud, bold and exciting. Then the attention focused on Judas. Ethan Baird gave us a tortured soul, his singing at first concerned about where Jesus behaviour was leading, unsure about Jesus’ relationship with the likes of Mary then his singing became more agonised and frantic, eventually coming to think he had been used. The kiss was superbly done. Growing in stature throughout, Colin Sutherland as Jesus first presented a milder mien before showing his mettle at the temple then, knowing what lay ahead, saddened and frightened, fighting against the tide and the tirade of Pilate until at the very end his moving acceptance of God’s will - a role he will look back on with pride. Lara Kidd had great presence as Mary showing in I Don’t Know to Love Him that she too was torn in her feelings about Jesus but she was constant. Only at the Last Supper did the character of Peter become crystallised. Aaron de Vires was so sure he would be there for Jesus and so shocked and frightened by what happened that his first very natural response was self preservation. Their sorrow in Could We Start Again Please was palpable. Darren Johnson, harsh as Pilate was torn also in dealing with the problem of Jesus, reverting to type as he delivered for the crowd. Others were just as telling characters: Nathan Auerbach, with deep booming voice as the priest Caiaphus, was cold and dangerous as he saw danger in what Jesus was teaching; Judith Walker as Annas made her mark; Stephen Boyd as Herod exuded power; and Peter’s accusers were well cast. Everyone played their roles with conviction and the famous songs like Hosanna and Jesus Christ Superstar resonated around the theatre. Lloyd Webber’s music, interestingly interpreted at times, ratcheted up and reflected the tension of the characters. This was a production to be proud of and to be remembered.

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