Jesus Christ Superstar

Please note that these thoughts are in addition to the official review from Mrs. Janet Elworthy, who was invited to the show as a true JCS aficionado! My notes are not 'right' or 'wrong' but are simply things that stood out to me during the single performance I attended. If I have not mentioned every single cast member it is because it is not possible with a single viewing, therefore I have mentioned the ones who 'stood out' for some reason.

From the first note played by the excellent live band (who were visible on stage throughout the production), the audience was caught up in a very good production of Lloyd Webber's rock musical based on the last days of Jesus Christ's life. An emotive and potentially controversial subject now, just as it was back in the 70's when Rice and Webber brought it to the West End, it's safe to say that those members of the audience who were unfamiliar with the show would have been unprepared for the brutality and 'shock-factor' delivered in the score and with great power by this society who are more familiar with traditional 'musical comedy' shows and plays.

JCS is a show that lends itself to creative interpretation of style and period, as has been shown in it's multiple incarnations through the years. BMCDS's decision to mimic the latest 'arena tour' incarnation was a successful one, although it would have been good to see them take the opportunity to deliver an original interpretation.

Never-the-less, this was a bold and powerful production, with strong lead characters, supported by a good lighting design on a simple 'bleachers-type' set, with the cast in contemporary dress (for the most part), with the occasional stylised look sneaking in.

As to the cast, the chief protagonists Jesus and Judas, were both played with power. Missing though was the chemistry between the two. The love for one another, which underpins much of the tragedy and anguish that their intertwined fates hang from, was not there. Vocally Jesus was superb (particularly given his age). He demonstrated a strong range and excellent balance between strength and vulnerability in his delivery - his falsetto rendition of 'Poor Jerusalem' was a wonderful moment during which you could hear a pin drop. There were just a couple of times when the power he was delivering slipped away and pushed him off key (Gethsemane), but with continued work I can see him going from strength to strength. From an overall performance I was aware that there were times he struggled to portray the 'weight of the world' on him, which is purely down to age - 'Heal Yourselves' was more an angry cry than someone desperate to help but overwhelmed by the world he is living in. But to be honest, this hardly mattered to us, the audience, who loved his performance.

Judas was similarly strong in passion during his numbers and was definitely channelling his 'inner Tim Mincin' to great effect, however there were times when he struggled with the power in his upper register and perhaps experimenting with a softer approach during rehearsals would have been more effective. He gave me serious goosebumps on the short refrain from 'Superstar' at the beginning of act two, but I was most struck by his descent into despair and eventual suicide, in which his realisation that his fate has been set and is out of his control tears him apart.
Then we have the supporting characters that follow Jesus and Judas on their path. Mary played her part well and with a compassion that supported her vocals, which were not the strongest but balanced out well by her strong acting ability.

Caiaphus certainly made his dark presence known with a perfect, deep vocal that had us looking for some kind of special effect trick. But no. He simply has an incredible bass! Add to that his ability to slip in and out of it during the performance and it is clear we have one to watch here.
A powerful presence (that description applies a lot in this production) came from Pilate. A strong voice and equally strong character on stage - when he was around you forgot everyone else. My only criticism was his costume, which went a bit to near the 'S&M' line for my liking and didn't seem to mean to do it. Didn't spoil his performance though, which was a highlight.

Simon and Peter also played their parts well. Simon's voice was good and with some training will get better still and help support his upper register which was a bit weaker. I would say that that's where the 'rock musical' brings out most people's vocal flaws. The need to hit those high notes with power and passion, without loosing character is a real skill, rarely needed in more traditional musicals. All credit to the MD and the cast for their achievement!

Another highlight, although this time highlighted in pink, was the explosion onstage that was Herod. Taking his lead from the late, great Rik Mayall, Herod played the showman in sequins and flare, but still managed to portray a dangerous side that made us all uncomfortable. A great characterisation and a well earned respite from the darkness we had been descending into, despite his sadistic overtones!

Visually the show had some very high points. The use of video 'news' footage (both sourced and created) to set the tone for the contemporary feel of the show was very effective and well executed. Then the two most brutal scenes, the flogging and crucifixion, were both staged with power and drama. The combination of somber, red lighting and copious amounts of red 'blood' made the flogging violent in the extreme. The crucifixion itself was gut wrenching. Drawing heavily, again, from the arena tour's style, the metal-frame crucifix was lowered in (a bit too quickly), Jesus strapped to it and hoisted a few feet into the air. Then he was all alone. You could cut the air with a knife as the life slowly drained from him.

There was little in the way of choreographed 'dance' in the show, but the few places it appeared were a bit of a mixed bag. In the places it seemed appropriate ('King Herod's Song' and 'Superstar'), I could see the intention of the movement, but the execution was sloppy and seemed like it needed to have been drilled a lot more before show week. That said the 'Heavenly Chorus' that accompanied Judas' spirited rendition of 'Superstar' looked great in their angelic wings and showgirl characters.

The rest of the small company supported well and had obviously been well rehearsed vocally, however they were often lost due to poor sound tech - either because only one or two wore mics and made odd harmony lines stand out, or because they were just not strong enough to push their voices out. This was very evident in the Temple when the 'sick' came out with their solo lines, which were inaudible. Still, they were worked hard, appearing in many guises and never once seemed harried or rushed. In fact, as a small company you could almost feel the tight bond that the show had developed between them.

This was a great production which moved us and left us feeling hollow and very slightly disturbed. How else should JCS leave an audience?! Congratulations on a great show.

© NODA CIO. All rights reserved.