Jesus Christ Superstar

This is an extraordinary work, and in many ways this was an extraordinary production.  It’s over 50 years since Andrew Lloyd Webber and Tim Rice, emboldened perhaps by the success of “Joseph and the Amazing Technicolour Dreamcoat”, turned their attention to the greatest biblical story of them all.  Exploring the Passion through the medium of rock musical was controversial at the time, and the emphasis on the human aspects of the story without so much as hinting at the resurrection was considered by some as blasphemous.  This emphasis arguably remains problematic: there has to be something remarkable here to explain how and why Christianity has endured for 2000 years.  The resilience of the rock opera is arguably easier to understand: the musical themes have all the confidence and potency you’d expect from brash new talent announcing itself in the world of musical theatre.  The descending arpeggios of the main theme are timeless and unmistakable.

The work seeks to decontextualize the Passion of Christ, and the production certainly took the story out of any historical context: the staging was largely devoid of references to time and place, although the music and the choreography had their roots in the 1970s.  The set consisted principally of an elevated scaffolding walkway wrapped around the central performance space, and this was used flexibly and effectively: here to strengthen the Priests’ authority, there to enable to a prowling Judas to observe and comment on the action.  The height of this platform also allowed the company to face upstage to join the audience in watching the action on the walkway without blocking their sight lines, which always feels very inclusive; and of course it enabled some excellent static tableaux.

The undoubted highlights of this production were the vocal performances of Jesus and Judas, who brought power and precision to some incredibly complicated and challenging numbers.  Mary’s songs, in contrast, have an almost naïve simplicity, but they were nevertheless memorably delivered.  One of the things that sets Oxford Operatic Society apart is the strength of the ensemble, and the individual lines scattered through the score were sung accurately and confidently without exception.  The unaccompanied part singing was as good as you would expect, and the challenging discords (such as the angels’ singing as Jesus dies) and unusual rhythmic sequences were handled with ease.

The company’s dancing was as impressive as ever, and if the choreography didn’t always exactly complement the narrative – the dancing which accompanied the crucifixion felt like an unusual juxtaposition – it did match up to the score and appropriately referenced the era when the musical was written.  There was the usual emphasis on routines danced as individuals, and the steps and arm movements were thoroughly rehearsed and crisply executed.

“Jesus Christ Superstar” is a complex, challenging work, and this production certainly provided plenty of food for thought: indeed, I have rarely reflected so much on a musical presentation, which is a serious compliment.  As you would expect, the show was packed with good things, and presented to the high standards which have become synonymous with Oxford Operatic Society over many years.  And yet, I am still left with the impression that it didn’t quite add up to the sum of its parts, and I think that’s because the show itself has a void where a more exceptional vision of Jesus needs to be, a void which even this excellent production was unable to disguise.

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