Jesus Christ Superstar

As every musical theatre fan knows, Andrew Lloyd Webber's Rock opera began life as a concept album before transferring to the stage back in the 1970s: it was therefore interesting to see that Howard G Raw's production for PHTC had a concept all of its own too. A defiantly modern and certainly quite different take on the show, the production had lots to say and made many interesting choices but despite the presence of some great touches, novel ideas and wonderful set-piece moments, I wasn't personally convinced that the piece really came together as a whole.

The show opened up onto a really quite spectacular set, a steeply raking bank of steps which narrowed to a point at the apex, creating many opportunities for interesting lighting effects throughout the show and also for the creation of energetic routines and interesting stage tableaux. The staging and lighting were of exemplary quality throughout: slick, seamless and unobtrusive changes of scene where needed, with lighting adding much to the feel of the piece, giving a real 'rock arena' feel to the evening.

Less convincing was the addition of a voice-over at the start of the show (extracts from the Bible followed by a rather banal commentary on the riot which had broken out on stage) which I thought was quite redundant and made for a fairly shaky start and the reappearance of another voice over at the end of the show very nearly threatened to undo all the good work of the previous hour and a half's stage business and the moving finale, so unedifyingly bathetic was it in its unwelcome intrusion.  The show's contemporary look certainly added a fresh and dynamic feel to the proceedings but I did feel that it muddied the narrative and put some dramatic limits on the importance of the deeper thematic material inherent in the show emerging to its full extent. As this is effectively a rock opera - there being no spoken dialogue - the music and lyrics can be helped by thoughtful staging in getting across the message of the piece: I did feel at times that certain choices of the staging did more to obscure the material rather than bring it to life, which was a shame.

JCS has a relentless musical energy, the through-written score rarely lets up for a moment and demands much from both the orchestra and the performers on stage. MD Richard Patel marshalled his musical forces with aplomb and had obviously worked well with his cast to try to get the best from this punishing score: I speak from personal experience when I report that it is a very tough 'sing' and all the cast are to be applauded for really giving their all. The punishing vocal requirements - and the fact that between them, Jesus and Judas are barely off the stage - meant that by the second act, there were occasional signs of tired voices (but then I did attend on the last night and the cast had been hard at it all week!)

Heading the cast as Jesus, Jack Herbert really threw himself into the role with a focused dedication, his vocals were strong and he had definite stage presence. Gary Leonard as Judas had an intensity which suited the character well and I particularly liked the thoughtful way which Judas's character developed throughout the show: his was a particularly sympathetic portrayal of the role which I enjoyed. Jess Balderstone as Mary Magdalene sang superbly - all those pop/rock melismas really suited the character and the feel of the show - more than holding her own against the men who dominate the principal vocal line-up. Richard Sanderson exuded a quiet dignity as Pontius Pilate, although I wasn't sure that making Pilate a barrister really worked in context on anything other than a very superficial level. Sam Crabtree was a fiercely good Herod, exploding onto the stage like a firecracker and giving an exceptional performance, although again, making Herod into a kind of devilish cabaret magician/ trickster (?) didn't really work for me as it seemed at odds with the narrative and also seemed out of kilter with Herod's character. I did like the slant put on the Priests however: traditionally portrayed as an all powerful elite who see their power slipping away, here they seemed to be a kind of shadowy establishment group, almost a secret society working behind the scenes to undermine the threat which Jesus and his followers pose to their power and influence. Caiaphas and Annas (Nick Staton and Matthew Hoyle) led this sharp suited gang well, throwing themselves into some of the trickiest vocal writing in the show with enthusiasm. The Apostles were suitably energetic in their street fighting rowdiness and sang well, led by Tim Mason (Simon) and Ben Fontaine (Peter). I'd like to see a production of JCS where more is made of the mordant humour of Tim Rice's lyrics - the Last Supper sequence in particular always strikes me as being rather less po-faced than it always seems to be presented - but it is easy to get caught up in the broiling emotions which always seem to be in the air when presenting this religious tale and go for straight down the line earnestness instead; nothing wrong with that of course in what is after all one of the greatest stories ever told. The rest of the company offered very strong support both vocally and in obviously well-drilled routines, their enthusiasm and dedication rolling off the stage and into the auditorium throughout the show.

There were many very well accomplished set-pieces in the show - Judas's death was staged very effectively and the crucifixion was a masterpiece of stage technology - and the show's central question (would Christ be hailed as a celebrity in today's culture should he deign to put in another appearance?) came across well too, with the staging and the direction leaning ever so slightly towards the 'X Factor' school of everyone being entitled to their fifteen minutes of fame. The brash and defiantly populist feel worked well in suggesting the glitz and glamour of the superstar lifestyle, while asking the audience to reflect upon the false idols of celebrity, glamour and fame at the same time: this was very subtly done and was a highlight for me.

I have already mentioned the superb set and the really very effective lighting which really lifted the show and made it feel like something of an 'event'. Costumes looked great and were well suited to both individual characterisation and the overall contemporary feel. Where there were any problems with the sound (sometimes a little overpowering, sometimes a little distorted) it wasn't particularly serious. Technically, the show was something of a masterclass in how a show should 'look', if not perhaps how a show like this should 'sound' and I did feel at times there were occasions where raw emotion did seem to be overtaking musical performance - a little too much shouting and wailing over a tune rather than getting to grips with the notes - but in the heady atmosphere of the drama and the rock fuelled musical accompaniment, this is perhaps only to be expected.

In what must have been one of the Hippodrome's most popular productions in recent times (the show was all but sold out as I arrived at the theatre) it is pleasing to report that the large audience thoroughly enjoyed the show and received the production with great enthusiasm: there really was a feeling of being present at a special occasion. Despite any minor quibbles I had with the choices made in the staging and direction, it is nevertheless always pleasing to see a talented and enthusiastic cast being inspired by a director who is full of ideas, giving an individual and different interpretation of a well known piece of musical theatre. The warm and welcoming atmosphere of the Hippodrome makes every visit here something of a highlight and I look forward to my next visit.

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