Jesus Christ Superstar

Back in the 1970’s, things didn’t start all that well for two virtually unknown budding musical entrepreneurs when they failed to attract the financial backing they needed to stage their new work. Undeterred, they released a concept album which despite creating a great deal of controversy with certain religious groups, ‘Jesus Christ Superstar’ would take the theatre world by storm and become an immediate success on Broadway. What happened next, as they say, is history, with the London production becoming the longest running musical of all time until 1989 when, ironically, it was overtaken by another Webber/Rice all-time great, ‘CATS’!

54 years on, this classic rock opera is still a cultural phenomenon and just as popular as it was in the beginning as the Burton Musical Theatre Company clearly proved when they rose to the challenge of successfully presenting a new and exciting version of the show to sell-out audiences at the de Ferrers Academy during the half-term week break.

Having arrived in Burton early, I had the opportunity to meet and chat with director Karen Hambleton who briefly outlined her new vision for the production before I took my seat and had chance to admire the cleverly designed composite open stage set. With the ingenious use of scaffolding, a high-level walkway had been constructed at the back of the stage under which the eleven-piece orchestra was positioned. There were steps down on either side to the main stage area and two further raised platforms left and right. Probably most significant was a large black cross centre back and a long wooden walkway leading from it to the front of the stage with steps down into the auditorium.

As the house lights dimmed for the start of the show and those haunting opening guitar chords rang out, the stage was suddenly flooded with a bright and colourfully dressed ensemble as Judas entered with his opening and exceptional rendition of ‘Heaven On Their Minds’. ‘What’s the Buzz’ and ‘Strange Thing Mystifying’ followed with the initial attempt of Jesus to calm the concerns of his Apostle’s restless energy and the crafty scheming of Judas! Both numbers were very well staged and sung with hard-hitting vocals and energetic choreography which clearly set the exceptionally high level of performance that we would enjoy for the rest of the evening.

In the title role, Bradley Hambleton made an immediate impact as he entered through the illuminated cross at the back of the stage for the start of what was to be an outstanding individual portrayal of Jesus which made full use of his rich and impressive vocal range and superb acting ability. In particular, the sensitivity and emotion he showed in ‘Gethsemane’ was mesmerising and the drama of the days leading up to the crucifixion were also brilliantly portrayed.

As Judas Iscariot, Ollie Last delivered a strong and convincing vocal excellence throughout the whole production and showed great acting skills in handling his troubled relationship with Jesus. From questioning the curiosity of the crowds in meeting Jesus during the opening sequence to his confusion and anguish in accepting thirty pieces of silver for the betrayal, his ever-conflicting emotions were highly believable and skilfully portrayed right up to the point where guilt finally consumed him in ‘Judas’s Death’ as he dramatically took his own life.

I simply loved Vix Quigley’s heartfelt portrayal of Mary Magdalene. In an attempt to reassure Jesus, she delivered ‘Everything’s Alright’ with great calm and sensitivity and went on to display even more genuine emotion and sincerity when she gently caressed his face while he rested before questioning her own feelings in the iconic ‘I Don’t Know How To Love Him’. Mary’s duet with Peter, ‘Could We Start Again Please?’ in Act Two was also beautifully sung.

The rich deep tone of Kieran Barrett’s voice as High Priest Caiaphas was eerily effective in ‘This Jesus Must Die’ and together with the sly and scheming Annas (Matt Waite) and his two fellow priests (Andy Hambleton and Mark Hargreaves), they cleverly sported long black leather coats which further enhanced the menace of their plans to arrest and destroy Jesus.

Jesus’ prediction of his betrayal and denial at ‘The Last Supper’ was an intensely moving scene and showed off the vocal strength of the apostles. Both Jay Beaumont-Mills as Simon and Tom Berriman as Peter gave strong and believable performances. In particular ‘Peter’s Denial’ with Mary and several ensemble members was very touching and well performed.

Edward Moore gave a superb portrayal of Pontious Pilate and provided a welcome respite from the high-octane numbers of the first half with a meaningful rendition of ‘Pilate’s Dream’. In complete contrast, we saw him wrestling with his conscience and Inner turmoil before the momentous decision he had to make in Act Two’s ‘Trial By Pilate’. As an alternative to Pilate himself administering the thirty-nine lashes, several of the dancers took it in turns to dart and cross behind the kneeling Jesus from either side of the stage, mimicking and calling out the number of each lash with meticulous but still disturbing effect.

Another brief respite came to lighten the mood in Act Two with King Herod, brilliantly played by Jonny Stewart, leading a glamourous group of young ladies in a 1920’s ‘Charleston’ routine in ‘Herod’s Song’ much to the handclapping delight of the audience.

I don’t think that anything could have prepared us for the sheer reverence of the Crucifixion Scene when Jesus, out of sight from the audience, was carefully laid down on the central walkway and then slowly appeared, tethered to a gigantic wooden cross as it rose up from the floor. There was clearly a tranquil and hushed silence from the audience as Jesus made his final declaration to God, bringing this most brilliantly staged drama to a fitting climax.

From beginning to end, the energy and passion that every single member of the BMTC’s JCS company displayed was simply off the scale. I’ve already spoken of the principal roles but let us not forget the ensemble and dancers who also excelled in bringing the same high level of performance as supporting characters and in the smaller roles – the apostles, the soul girls, the angels, the dancers, the soldiers, the prostitutes, the lepers – they were all truly brilliant!

Modern-day costumes too were well thought out, co-ordinated by Cat Palfreyman and mainly supplied by the cast themselves. From Jesus dressed in a tasselled light cream top and grey tunic to Judas in a dark blue shirt, blue jeans and complete with a red headband, the way in which every member of the company was dressed looked completely appropriate. I particularly loved the twenties-look dresses the dancers wore in ‘Herod’s Song’ and the silver sparkly dresses they wore in the finale. Pilot’s purple robe and Mary’s long orange dress also suited their characters perfectly.

The spectacular lighting and sound had been very well designed and was operated without a blip throughout the whole production. The stage crew and props team also provided faultless support.

But, as always, my final comments, and probably the most important, must go to Director, Karen Hambleton for her exceptional new vision of this musical classic, to her Production Assistant Cat Palfreyman, to Choreographer Dani Harris for the amazing and breathtaking choreography and grouping and to David Blackwell and his orchestra for his masterful musical direction in this hugely vocally demanding show. I’ve said it before, and I’ll say it again that it’s so lovely to enjoy the might and glorious sound of a full live orchestra which sadly we rarely see or hear in amateur productions nowadays.

Thank you so much for inviting me to your latest production and for your warm welcome. I greatly look forward to making the relatively short journey from Stone to Burton to see you all again for ‘We Will Rock You’ in February next year.

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