Jesus Christ Superstar

It takes a brave decision to step out of that comfortable ‘production box’ most societies rely on! Despite an already creditable reputation, Axminster decided to take that step with this Andrew Lloyd-Webber/Tim Rice musical which has proved to have been a popular choice for amateur societies over the last couple of years, but certainly not for the feint hearted.

This production shone in so many ways and not just referring to the beautiful, creative lighting effects which gave a huge impact to the visual aspect of the production. Acts one and two presented in different concepts with one appearing almost as a concert version on occasion. If this approach was to showcase the stunning vocals of the soloists, it undoubtedly worked but it is to be noted that when on stage in the first half, chorus produced some of their finest work. ‘What’s the Buzz’ was confident and accurate with a lovely balanced sound which continued when singing around the auditorium, a definite ‘surround sound’ moment.

Act two appeared more structured and polished with some lovely visual effective staging. The opening saw tableau enactment of the painting ‘the last Supper’ leading onto what could probably be considered the best scene in the production. “King Herod’s Song” was showy and sassy, showing some of the choreographer’s best work, slotting beautifully into the genre of the song. Herod’s strength in performing was definitely the apparent comic ease he was able to put into his act.

Auditions attracted several new, talented young people including brothers who undertook the huge, demanding roles of Judas and Jesus. Both showed completely different performing skills but shared a masterful command of stage craft and vocal ability. From first foot on stage, Judas attacked with energy, his struggle with his conscience clearly visible and felt. ‘Dammed for all Time’, one of the hardest songs to sing, was powerful and believable, although his incredible vocal acrobatics, which were impressive to say the least, needed reining in very occasionally, to prevent  masking the simplistic meaning of the song. Hopefully he will continue to pursue a future on stage! As Jesus, his brother presented as the rightfully thoughtful, milder character with a gritty depth surfacing to acknowledge his hidden strength. "Gethsemane" demonstrated the passion, power and accuracy in a voice that covered the huge range needed with ease and brought a tingle to the spine.

Another welcome newcomer to the society brought a sparkle as Mary Magdalene (Lucie Trollope) showing her vocal prowess with an extremely moving performance of “Could We Start Again Please”. Individually these principal performers made their characters deep, forthright and believable but together, the meaning of the relationship between them was not as apparent as it could have been. Simon and Peter each brought a special something, along with the other disciples all playing a part that was defined and memorable.

The darker side of the production, over seen by Caiaphas, Priests and Annas was clear to see. Pilate (Kevin Fairburn) using his creditable acting skills brought the (quote) “tortured torturer” to life with  spine chilling realism, a fine performance. The beautiful lighting came into its own at the crucifixion. The act in itself was simple yet powerful but it was taken to another level. A memorable picture that lingered in the mind!

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