After the success of ‘Evita’, the team has once again turned to composer Andrew Lloyd Webber and lyricist Tim Rice for their community production. And once again they have mined the local area for performing talent and struck gold: at the end of the performance I attended, the whole audience rose to its feet.
The trajectory of Jesus’s final days is viewed through the eyes of outsider Judas Iscariot. An excellent singer, Ross Clifton, portrayed him not as a villain but as a complex character, concerned that Jesus’s challenge to the authorities might produce a repressive backlash and conflicted in his feelings towards him. If anger is an energy, Clifton’s Judas was infused with it. Having betrayed Jesus, he was wracked with guilt.
Louis Moore was a charismatic Jesus: what can I say but ‘wow’? Not only did he reveal an amazing vocal range, he also displayed an ability to express a real variety of emotions. In the poignant song ‘Gethsemane’, he conveyed doubts, feelings of rejection and the burdensome realisation of his destiny. Olivia Beale brought sensitivity to the role of Mary Magdalene, offering Jesus comfort and experiencing confusion at the awakening of feelings for this man. She sang ‘I Don’t Know how to Love Him’ beautifully.
Rachel Taft was an authoritative Annas and Patrick Callaghan singing in a sonorous bass convincingly played the High Priest Caiaphas. The audience really enjoyed Maria Dunford’s (Simon) high octane solo. Christopher Sherborne gave a strong performance as Pilate and his voice was impressively powerful. I enjoyed Matt Bond’s comic, camp Herod cameo and was moved by the lovely singing of Christopher Blackshaw, as Peter.
Musical director Richard Atkinson ensured that the cast did justice to the memorable songs, including show stoppers such as the title song, and the professional orchestra created a powerful rock vibe. The choral singing of the Apostles and the crowd was outstanding, as were their acting and movements. Tracey Iliffe’s stunning choreography was performed by eight young dancers with high energy, verve and athleticism.
Ian Tregaskis’s stark set, with its banks of lights, reminded me of the Pyramid stage at Glastonbury, while the dramatic, effective lighting, designed by Tom Davis, enhanced the sense of being at a rock concert. The creative and technical team also deserve a mention for the support and expertise they have provided to guarantee a professional standard.
Costume designer Vicki Smith clothed the Apostles and crowd in black: Goth meets biker-chic. Judas wore a long black leather coat which contrasted with Jesus’s simple outfit of white T-shirt and jeans, symbolising his goodness. At one stage a group of lepers, in grey scarves, clawed at the shirt in their bid to be cured, giving the impression that everyone wanted a piece of Jesus. For ‘Herod’s Song’ and ‘Superstar’ the costumes were all glitz, glamour and gold.
At around two hours in length (including interval), this was a vibrant, fast-paced and brilliantly staged production. Were I to apply three Netflix-type descriptors to this show, they would be: ‘Powerful. Emotional. Dynamic.’ Hosannas (and hey-sannas) to everyone involved!
There are further performances of ‘Jesus Christ Superstar’ on Fri 18 April 7.30pm; Sat 19 April 2.30pm; Sat 19 April 7.30pm; Sun 20 Apr 3pm; Fri 25 Apr 7.30pm; Sun 27 April 3pm.