Jesus Christ Superstar College Production

 

Many thanks to Preston College for inviting me to see their COURSE NAME students performance of Jesus Christ Superstar – College Edition, which was performed in the college’s amphitheatre. The performance I saw was on Saturday 8th June 2024. Firstly, I must make note on the professionalism of the college and their students for their response to adverse weather which rained off one performance and cut another just short of the finale. I’m so delighted that the sun shone brightly for the Saturday performance, and what a show this was!!

Jesus Christ Superstar is a rock opera by Andrew Lloyd Webber and Tim Rice that explores the final days of Jesus Christ’s life, focusing on the psychological and interpersonal dynamics among Jesus, his disciples, and the political authorities of the time. The story is primarily seen through the eyes of Judas Iscariot, who is troubled by Jesus’ growing popularity and fears it will lead to their downfall. The musical begins with Judas expressing his concerns about Jesus’ leadership and the potential consequences of their movement. As Jesus and his followers enter Jerusalem, tensions rise. Jesus’ relationship with Mary Magdalene and his teachings draws both admiration and criticism. Judas decides to betray Jesus, believing it is the only way to save their cause. The climax of the story includes the Last Supper, Jesus’ arrest, trial, and crucifixion. Throughout, the musical delves into Jesus’ human emotions, his doubts, and his acceptance of his fate. The rock opera format, with its contemporary music and language, brings a modern and relatable perspective to this ancient story.

The creative included Rachael Soar as director & musical director and  Daniel Mason as choreographer,  who all fused the performance artforms seamlessly to provide immense storytelling and dynamics, resulting in the spectacular which was. They chose to perform this production in the college’s Amphitheater. This setting automatically instils an element of grounding to a production, the audience being cradled in mother nature’s arms, whilst witnessing the deliberations which occurred throughout the space. My first notable comment is one of the design and period setting for the production. The creative chose to place the piece in the 1960’s, which was an awesome choice. This era brings with it connotations of Jesus’ message; love, peace, and harmony. This was echoed through both costume and setting with graffitied boards and banners depiction the iconography of the hippy era. This was a nice stark contrast to the straight-lined dress and suit attire adorned by the political officials and Judas, which fit the context to the story and the duality of opinions established throughout. The staging maximised the available space within the amphitheatre, consistently shape shifting and manipulating the performance area. The seating area was often used as a performance area, which not only kept the production interesting, but somehow, also, brought the audience into the production further. What I loved most particularly about the creative was that it was difficult to draw definitive lines to where the disciplines began and ended. To me, when the artforms are blended in such a way, the impact of the a performance is synergised, and the production flows. Storytelling throughout the production was immense, with some great truth being brought about throughout the show, I loved the use of iconography, such as use of the tableau for the last supper scene, which rooted the narrative to it’s original context. Choreographically, there was great variation of genre and style, which fitted the moment in the production well, I particularly liked the continuation of the 60s setting thorough movement!

Now to the cast! Holistically I would describe the cast as extremely tight, with some sheer talent within. The levels of investment and commitment were second to none. The chorus and smaller named parts within the cast embodied the themes, context and worked with sensitivity to some of the more triggering themes of the production. 

Jesus was played by Elijah Edwards who, quite simply nailed it! He provided a very relaxed performance, with effortless vocal ability which showcased a diverse technical range, with particularly notable attack within the top of the chest voice. His use of mixed  voice was stunning to bring literal jaw dropping sounds, and the pitch perfect moments in falsetto sent chills through my arms, as they epitomised the gentleness and kindness associated with the religious icon.

Mary Magdalene, played by Honey Booth was mesmerising providing outstanding presence and rich, flawless vocals. Her version of ‘I don’t know how to love him’ was a masterclass in how to unpick and layer a nostalgic classic, turning it into an original and authentic piece of character driven moment of acting through song. Alongside Honey was Jess Deane and Emily Maiden, and I must comment on the blend and clarity of their harmonics, their featured moments together really were a treat.

Theo Heavyside  played Judas. Unfortunately, Theo sounded a little vocally strained for this performance, and I wonder if this part was correctly cast for his vocal range. He delivered a strong performance in spite of this and I loved the stagecraft which portrayed his suicidee.

Annas was played by Antonia Pyrah with great depth and intensity and I loved the continuation of this character throughout song and movement. A really stand out performance for me throughout.

Cody Fletcher,  Lucy Thomson, Sophie Holmes and Xander Matanle played Caiaphas,  Simone, Peta and Pontius Pilate respectively. Albeit smaller parts these cast members delivered exceptionally throughout the performance.

Last but by no means least, Rowan Brook Hornby played Herod. This cameo, one scener is a treat of a part, being given an opportunity to steal the entire show, an Rowan did not disappoint. He gave the character a George III [Hamilton] flair adding clean lines of, often,m technical choreography, demonstrating great vocal control through delivering dance and vocals simultaneously.

Thanks again to Preston College for this wonderful opportunity to watch and review this wonderful performance, and I wish all the students and staff the very best for future endeavours.

 

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