Jesus Christ Superstar

On entering the auditorium, the audience was met with a large empty stage, with 2 tall rigging
frameworks. The band took up their well-placed position at the back of the stage, and as they
began their overture, it quickly became evident that this was not to be a run-of-the-mill, empty
production. The cleverly mounted lights started playing in time to the music, creating a
magnificent, energy-filled atmosphere that was to continue throughout the whole production.

Suzanne Emerson, Director and Set Designer, together with Luke Marino, Lighting Design,
must be congratulated for their creativity, in bringing to life the entire space, whether occupied
by the whole, talented, cast, just one or two individuals, or even none. Not once did the stage
feel bare, as the imaginative lighting became a character in its own right, without stealing the
limelight.

When the ensemble did enter, they in turn lit up the space with their dynamic enthusiasm,
making excellent use of every part of the stage with each number that they performed. Laura
Saunders’ choreography was beyond excellent, as was the realization of it by the skilled cast,
who never once lost that initial energy and who kept perfect time throughout. Their movements
were so varied, always in sync with each other.

After the animated introduction, the first number was beautifully staged with a motionless crowd,
all carefully positioned at varying levels, with Judas wandering among them, the pace slowly
building ready for the next, vibrant, number. This opening scene was brilliantly re-prised at the
end, with the masterly costume change showing Judas now a ghost giving extra gravitas to the
emotional scenes preceding it.

The little details that made each song unique and absorbing are too numerous to mention, from
the way that the ensemble were “pushed” over by Jesus on one side and then the other in an
ingenious wave of movement in the Temple scene, to the inspired way that Judas was lifted up
and disappeared after his betrayal.

Sam Kirby and Joe Griffiths, Musical Directors, certainly got the best out of their singers, who
displayed an extraordinary vocal range, expertly accompanied by the 5 piece band. At times,
some of the cast’s words were difficult to hear over the music, but generally everyone had
excellent diction and sang fantastically.

Rich Evans’ first entrance as Pontius Pilate was so well directed and performed. The quiet song
with him standing still, at the side of the stage, recounting his dream after the high energy of the
preceding action, together with his costume contrasting so dramatically with those in the crowd, was really effective. He disappeared at the end of the song through a side curtain on stage left.

This was again a great use of the space, but stage right had no curtain, leaving exposed a great
gap filled with items which ideally should have been hidden from the audience.

Jonatan Rosten gave an unexpectedly original performance as Herod. He made the role his
own, moving away from the more traditional camp portrayal, and his characterisation certainly
worked.

Vikki Jones as Jesus, Emma Vieceli as Mary and Andrew Ruddick as Judas each presented an
exceptional range of emotion and vocal challenges that any professional company would have
been proud to achieve. They managed to give the story an extra layer: showing the horror of
what was happening alongside the fun of the rock music.

Each and every participant gave more than 100 per cent and must be congratulated. This
production took an iconic show and remained faithful to the original while injecting fresh
elements into it, enhancing every scene. Well done one and all.

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