Jesus Christ Superstar

Telling the story of Jesus Christ’s last few days, this rock musical shows no signs of aging. When first it took to the stage in the 70’s there was much controversy about how certain sections of the community were portrayed and this version held firm to the original concept with many modern twists and excellent small touches to enhance an already powerful performance.  When entering the theatre it was obvious that the production was to have a modern take with scaffolding set built around three sides of the playing area (well done T2 Staging), and a lighting rig in the shape of a cross being a centre piece.

MD Andrew Clarence led the music from the keyboard, controlling the ten-strong orchestra of some of the finest musicians I have heard in a long time. Music is a strong feature of the production as there is no dialogue – everything is sung – and the musicians helped create the mood of the performance throughout with ‘light and shade’.  A special mention is extended to the percussionist, whose performance was excellent.

Lighting and smoke effects also helped make this musical the tour de force that it was, and a big well done to James Henshaw.  Sound was up to the normal high standards of Tony Atkinson Associates, led on this occasion by Andrea.

Of course the best sound, set, lighting and musicians are for naught if the performers aren’t up to scratch, and in this respect South Shields G&S had no worries.  Starting off the production, and giving a magnificent performance throughout, was Brian Jordan as ‘Judas’ as he struggled with his love of Jesus, and his beliefs that Jesus and his entourage were ‘rocking the boat’ of the establishment.   Jesus himself was played in truly powerful fashion by Ian Bianchi as the character dealt with his disciples, the establishment, and his followers with empathy and passion in equal measures.  The ‘establishment’ consisted of  the Priests who were played by Bob Stott, Allan Howe, Gerry Troughton (Annas) and Paul Treadgall (Caiaphas)  dressed in clown gear and painted faces to signify the ‘circus’ that followed Jesus around.   All were a menacing counterforce to his presence.  Pilate was played by Gary Deans with aplomb as he gave every opportunity he could to Jesus to ‘kowtow’ to the establishment.

Of Jesus’ followers, special mention must go to the superb performances of David Foster, Gary Manston and Ty Roach-Thompson as Peter, Simon and Thaddeus respectively.  The role of Mary was performed with consummate passion and believability by Charlotte Reay, especially in the iconic “I Don’t Know How to Love Him”. Adding a touch of dark humour to the production was Phil Dixon as ‘Herod’ who, along with showgirl dressed dancers, performed ‘Herod’s Song’.

Many lepers, sellers, children, guards and other apostles were filled by chorus members in a seamless production. Special mention needs made of the choreography of Leigh Henderson which was fabulous. Finally, plaudits to director Gareth Hunter for adding the small but meaningful touches to make this a truly awesome production. The last ten minutes of the production is possibly one of the most spell-binding and powerful pieces of theatre to grace the stage. Massive well done South Shields G&S.

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