Jesus Christ Superstar

Jesus Christ Superstar is a well-known Rock Opera by Andrew Lloyd Webber and Tim Rice, about the week prior to the crucifixion of Jesus, mainly through the eyes of Judas. It looks at the possible relationships between Jesus, Judas, Mary Magdalane, disciples Peter and Simon - and the Roman authorities. It has been staged in many different forms by Professional actors and by Amateur Operatic Societies, meeting a good deal of disapproval at the beginning. Originally introduced as a Concept Album, it opened on Broadway in 1971 and in the West End in 1972. Nominated for 5 Tony Awards without a win, it won a Drama Desk Award for most promising composer in 1972!! Then in 2017 it gained an ‘Olivier’ for Best Musical Revival.

Belvoir Academy’s Set was minimal - different levels at the back and a catwalk in the shape of a cross on the stage, which was on floor level, with the audience on three sides. Projections on the cyc at the back were very well chosen and added atmosphere to everything on stage. The only Props were flight cases on wheels and the mobile phone of each actor taking part. The whole ensemble was costumed in black and white modern gear apart from Pilate in bright red, High Priests in black, Herod in multi-coloured and Jesus in pure white. Lighting by Sandy McAlister was expert and creative; Sound by Stephen Hyland was challenging considering the very loud music but pretty well managed.

Controversially,  two girls were chosen to play the part of Jesus - Caroline McMichael and Neve Wilkinson - the former was playing on the night I attended, but I’ve no doubt that Neve’s portrayal was also very good. Having wondered how I would react - I found that the change to female did not affect my view, as the familiar words were so well acted and sung by Caroline. She conveyed the exhaustion of Jesus at this time which caused him to become tense and a bit irritated with his friends and disciples. Caroline’s vocals were strong and expressive and balanced well with the lower tones of Judas’ voice. Played by Aodhan Halfpenny (and shared with Eathan Harkin at alternate performances) Judas was a bewildering mixture of concern for the poor in the circumstances of Jesus’ fame and becoming the antagonist in the ongoing events. This was a huge and exhausting /violent role for Aodhan - and he rose to the challenge, never failing to show the torment Judas was suffering. His tenor voice was tested to its limit, and he achieved a very high standard.

Millie Downes played Mary Magdalane, showing grace and compassion in the role. As well as utilising a belter of a voice, she showed lovely gentle tones when  appropriate. The role suggests that Mary (as a former prostitute) finds herself falling in love with Jesus. This insinuation needs a show of weakness which Millie portrayed well. I was surprised at the depth of Harrison Gordon’s bass voice as Caiaphas - I was expecting an older and larger actor to manage “This Jesus must die” - well done Harrison! His role as the High Priest who sees Jesus as a threat to the nation was powerfully played. With Rhys Devlin as his fellow Priest Annas, the threat was palpable, backed up by several other priests whose ensemble vocals added impact. Clodagh Sweeney, dressed in a suitable scarlet costume, played Pilate. As Governor of Judea, she sang “Pilate’s Dream” with conviction before finding herself making decisions about Jesus in the same way as the dream. Once again , a female in a male role worked well.Jake Bennett took the flamboyant role of Herod, the King of Galilee which suited him very well. He sang the always popular “King Herod’s Song” in suitably outrageous and irreverent manner, which was highly entertaining.

The disciples - Shelley Diamond, Paddy Gill, Laura Hogan, Francesca Kelly, Joshua Miller, Neal Mullan, Caoimhe Ryan, and Erin McManus - were collectively excellent dancers and singers. Erin (Simon Zealot) was the ‘angry young man’  who wanted Jesus to lead his followers into battle against the Romans. Caoimhe (Peter) was very keen to serve Jesus and was surprised and ashamed when he fulfilled Jesus’ prophesy that he would deny knowing him.  All their human flaws showed among the disciples as the tensions rose throughout this final week leading to the crucifixion. (I did notice one girl among the crowd who was very intense as she danced and sang but I do not know her name. Perhaps a future star?). However, with other ensemble members who came forward to portray minor characters , this was a  real ‘company’ piece.

With an excellent 5-piece Rock Combo, MD Adam Darcy brought the difficult rock/gospel/hip hop/folk mixture of music to terrific conclusion with good balance between singers and instruments. The opening soulful guitar sound was amazing, and all the music complimented the action on stage. Emmet Stewart’s choreography was electrifying in energy and content. What a wonderful group of enthusiastic and accomplished young people he taught so well.

As for Director Dean Johnson! His (concept) of this iconic theatre piece was unique - both thoughtful and secular while giving Christians food for thought.

My thanks go to everyone involved in this exceptional piece of theatre. As this will be my last review of a Belvoir Academy production as Representative for NODA in Ireland, I would also like to thank the company for all the opportunities they have given me to follow their progress.  I promise you will be well served by my successor Jim McGuigan, and I will continue to support you in the future as an ordinary ‘punter’!

 

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