I have to say at the outset that Jesus Christ Superstar is not remotely among my favourite shows. I have reviewed it many times and, in truth prior to this visit, had yet to find it especially enjoyable. I find the story over simplified and the music unmemorable, with only a couple of exceptions. However, as I knew that James Fortune was to direct this production, I was in high hopes of finding something special on stage this time. And I was not disappointed, as James totally transformed what hitherto I have found a dreary show into a magical evening of theatre. James is, of course, both literally and metaphorically a stage magician almost without peer. Consequently, I now look forward to seeing this show the next time I am asked to do so.
A thoughtfully designed set, on several levels made for an excellent opening. Judas Iscariot valiantly sang “Heaven on Their Minds”, but a technical sound mishap – so I was later informed – meant that the music was too loud and almost drowned him. It transpired that this was rectified by the following night, thankfully.
Energy, pace and theatrical atmosphere and tension was present for the whole production and the singing was of a high order in general, with several principals having top quality voices.
There was imaginative and most effective use of lighting with various different colours being freely used to enhance the whole. Credit is due to lighting designer Simon Banks, operator Dominic Lawrence and the four follow spot operators. Stuart Vaughan did really well on sound, the aforementioned comment apart.
The very fine costumes were totally realistic – Mary Magdalene rescued from crown stoning by Jesus – being resplendent in scarlet! No other colour would have worked so well. Elizabeth Callow did her usual excellent job with the costumes – co-ordinating, sourcing and making.
The key principal players all had fine singing voices. Charlie Qureshi as Mary Magdalene oozed class with the best song of all, hauntingly delivered too, as she sang “I Don’t Know How to Love Him” Matthew Landells was perfectly cast in the title role of Jesus of Nazareth, giving a convincing and moving portrayal as his grisly crucifixion came nearer and nearer. The death scene was a triumph of staging and I would applaud SM Sarah Wood for the whole way in which this show was handled and sets changed. Richard Pile as DSM ably assisted.
Ben Essenhigh played Judas Iscariot skilfully and got really inside this historically devious and weak disciple. James Turnbull brought individual character to Pontius Pilate and I really liked the entrance of the mesmeric Damien de Roche as King Herod. Damien is one of those rare actors when you can rely upon to elevate any show he is in. And he certainly did so in this production.
Other strong performances were given by Nic Ash as Caiaphas, Max Marchesi as Annas, Toby James as Simon Zealotes, Rick Qureshi as Peter – who played this key role to the hilt – and in fact by all the Apostles. The last supper scene was beautifully staged and the way the entire cast was used was a triumph of directing and for the movement director Matthew Howes, who played an important part in this riveting production.
Make up by Zoe Warner and Kirsten Massingham was appropriate and effective.
I have left the excellent band under the assured command of musical director Amy Bryce, to the end. There was a vibrancy, occasionally too loud, but overall a stunning effect and thanks to all the above talented and dedicated people, plus a numerous and well drilled chorus, this show has now gained another, even if somewhat older than most, fan!
Take another deserved bow ELOC!
Jon Fox
Area 19
National Operatic and Dramatic Association
