JESUS CHRIST SUPERSTAR
As this show is quasi-religious, I feel empowered to make a confession. I confess that I have never been a huge fan of this early Tim Rice-Lloyd Webber creation. The reasons I will outline later but let me begin my sermon, sorry - review, by saying that the Festival Players production was outstanding.
‘Jesus Christ Superstar’ began as a concept album in 1970 and was quickly adapted into the stage, and film, musical that has been a gigantic success over the years. There are those who love the show’s score; gospel infused, rock and rollish, bursting with youthful energy and containing at least one gorgeous song (‘I don’t know how to love him’)
My ambivalence over this show is that it often seems more like a pop oratorio than a piece of theatrical drama. There’s a lot of telling rather than showing, and the telling often comes in large choruses whose lyrics aren’t always easy to hear given that much of the show’s music blasts out at fff.
The work is a real challenge for any company let alone an Am Dram one. It is totally sung through, requires high energy choreography, top and bottom note-busting solos and a bold understanding that all will not end well. There is no resurrection in this take on the last days of Jesus. Any audience member who leaves the show tapping their feet and whistling its airs hasn’t been paying attention. There is no feel-good factor in this narrative, and with one exception, nothing at all to smile about. That exception is a knockabout song by King Herod challenging Jesus to show him a miracle or two to prove he is really the Messiah and not just a naughty boy.
The stage at the ADC was bare allowing the ensemble to show off their considerable skills in dancing and the creation of myriad stage pictures. Choreographer Laura Saunders deserves special praise for creating an endless kaleidoscope of fast-paced movement.
The production was further assisted by the video and lighting design which was top notch. The band led by Sam Kirby and Joe Griffiths were seen as the back of the stage and played with great skill and musical razzamatazz. Many of the leading parts were also of the first rank – a testimony to the company’s ability to find the finest local performers. Andrew Ruddick was a powerhouse as Judas. His character dominates the story here. I felt for his voice (there are nine more performances) – he has to display the betrayer’s anger, frustration, remorse and comeback-kid bravura all at belting out pitch. Excellent too was Emma Viecelli as Mary Magdalene. She has a powerful voice and enunciates with crystal clarity. And, of course, she has the Big Number which was delivered so movingly.
Matt Wilkinson reached all his very low notes as the very low priest Caiaphas – he made for a very good baddie. Jonatan Rosten almost stole the second half show with his well-sung comedy number as Herod the not-that-great.
Director Suzanne Emerson decided to cast the role of Jesus as a woman, an interesting choice. Vikki Jones made the best of the JC role which I feel is underwritten. The script and score rarely gives many reasons why Jesus is at first adored then reviled, the part has almost a strange absence. Perhaps the show should be re-tilted Judas Iscariot Superstar. Jones was particularly strong at showing Jesus’s vulnerability and largely cut a tragic figure.
The show fizzes with energy and the dark moments, such as the lashing of Jesus, were almost too painful to watch. There were moments where I wished the singers would dial down the volume a bit and occasionally the whole thing felt a touch overwrought. The tragic finale was incredibly moving and one could hear a pin drop before the lights came up and thunderous, much-deserved applause filled the ADC.
Festival Players has produced another winner here. I started to warm towards the show after decades of not liking it much. Perhaps now I know how to love it.
PHOTO CREDIT: PAUL ASHLEY
