JCS considerations

Jesus Christ Superstar (Beenleigh Theatre Group)

Crete Street Theatre

February 10 – 25

The Crete Street Theatre stage is affronted by two distinct and appropriately placed sides in Beenleigh Theatre Group’s “Jesus Christ Superstar”. To the left are fist-in-the-air fliers of the Nazareth party encouraging citizens to fight the power, while to the right there is Roman Party political propaganda promising that we can ‘Count on Caiaphas’, who sees Jesus as a threat to the nation. Between them, things open upon infamous apostle Judas Iscariot (a committed Isaac Brown), who sings of his concern at the rising prolife and increasingly crazed followers of Jesus, predicting that they may threaten the powerful empire to the point of punishment in an impassioned ‘Heaven on Their Minds’.

Judas is singing from his room in Hotel Gethsemane, in reposition of Andrew Lloyd Webber and Tim Rice’s contemporised depiction of the final days of the life of Jesus Christ to a more recent reimagining. This fits alongside the production’s theme of enhancing the musical’s commentary on celebrity culture from before celebrity culture was even a thing, with, for example, modernising touches of the mass communication that Israel in 4BC lacked. While apostles with mobile phones obviously in-hand and a phone-lit musical number are maybe unnecessary, King Herod’s (Cassie Baan) Hardline TV show that appears on screen in lengthy pre-show and interval loops works well in drawing modern parallels through the King’s provocation of fellow Galileans to question the buzz around the upstart Jesus of Nazareth (Sophia Dimopoulos), including the authenticity of his birth certificate, and creates a nice arc to Act Two’s catchy ‘Herod’s Song’, which sees Baan leaning into the hammy mocking of its caricature as the flamboyant King pressures Jesus live on air to prove his divinity by performing his fabled miracles.

Despite the frequent, perhaps again unnecessary, set piece movement by ‘hotel staff’, the sung-through rock opera moves quickly, helped along by Donovan Wagner and Kaela Gray’s lighting design which, on its own, creates appearance of a hotel elevator in which Judas is propositioned towards his ultimate betrayal, and takes us from a seedy hotel scene into the darkness of Jesus’ torment. And while its titular number is maybe more lacklustre than full-on focal-point, there are some memorable moments within the musical, such as creation of the tableau of Jesus’ final supper with his disciples and the colour-themed nods within Natalie Jean and Hannah Collines’ costume design.

Kylie Davis-Davenport’s choreography works well when advancing the narrative such as when Jesus’ rag tag follows are being turned away from discovery of ‘What’s the Buzz?’ and when Mary Madeline (Abigail Ellerton) anoints Jesus towards spa relaxation with instruction that ‘Everything’s Alright’ so they should treasure the comforts they have. At other times, however, it serves as more of a distraction to the main focus, when representing in interpretive dance and movement themes from an already obvious plot element or stylising a pivotal musical moment such as Jesus’ 39 lashes without any grounding explanation for those perhaps unfamiliar with the detail of New Testament accounts of Jesus’ life from arrival in Jerusalem to his crucifixion.   

Restraint is rightly shown in stunning realisation of Jesus’ emotionally-charged musical soliloquy ‘Gethsemane (I Only Want to Say)”. Dimopoulos gives this crucial moment for her character everything that it requires as Jesus wrestles with doubts about the success of her mission, demands to know why she should continue given what awaits and ultimately surrenders to God’s will. Andrew Lloyd Webber himself has called this the most difficult song to sing he has ever written and Dimopoulos absolutely does this assessment justice, making it a standout moment of equal parts defiant conviction, potent desperation and ultimate dignity. While her vocals are well-pitched and she brings out the conflict and fear of her character’s plight throughout the production, this is, without doubt, the highlight of the show, thanks to the depth and soar of her vocals, and the considered lighting that backdrops her performance.

In support, Brown effectively conveys the internal conflict driving Judas’s actions, showing control in his lower vocal registers, but not the belt that Act Two’s ‘Damned for All Time’ deal with his betrayal perhaps requires, in keeping with its riff-driven rock sounds. Ellerton, gives us a compelling Mary, instilling the character with both strength and vulnerability through touching subtlety. While her ‘I Don’t Know How To Love Him’ is another of the production’s great moments, she also creates some solid harmonies with Georgia Cooper as Peter in their ‘Could We Start Again, Please?’ wish to return to a time of hope and peace. Justin Harreman makes for a strong Governor Pontius Pilate, who holds Jesus’ fate in his hands. Also excellent are Daniel McNamara as High Priest Caiaphas and Michael Mills as his chief advisor Annas. McNamara’s bass vocals are especially deep and rich in their Act One duet of conclusion that for the greater good ‘This Jesus Must Die’

Ever since it first appeared on the musical scene in 1971, “Jesus Christ Superstar” has been considered sacrilegious to select conservative Christian groups and there are sure to be some troubled by the idea of re-gendering Jesus as this production has done. Apart from jarring the pronouns of Mary’s lovely ‘I Don’t Know How to Love Him’ lament of how her feelings for Jesus frighten her, that Jesus is female, is not the most significant part of how this story is told. What stands out most is her crucial role in an impending election and what takes shape from that in terms of commentary on a person becoming more important than their deeds.As Director Kaela Gray notes in the show’s program, “this production isn’t a commentary on religion or theology; rather, it’s using the millennia-old story (as told through now-vintage tunes) to carry an incredibly modern message.”

While, at times, devotion to his modernity becomes unnecessarily detailed in distraction, what remains clear is the distinction of Lloyd-Webber’s catchy 1970s-inspired high-energy rock score, especially when kept in original key throughout. From the bombast of its epic shredding electric-guitar-filled opening overture onwards, the dynamic score is brought to rocking life by onstage JCS orchestra, under baton of Musical Director Benjamin Richards (also on keys). The perfectly balanced David Chivers (keys 2), Joel Sanchez-Carn (guitar), Phil Kan (bass) and Abbie Chadirchi (drums / percussion) are hidden away underneath the staging’s raised platform and it is unfortunate that there is no opportunity to ever seen them or rightfully acclaim their talents.  

Superstar splendour

Jesus Christ Superstar (Lynch & Paterson)

Twelfth Night Theatre

July 9 – 18

Within minutes of Lynch & Paterson’s production of the mega musical cultural phenomenon “Jesus Christ Superstar”, the show’s triumph is clear. The Twelfth Night Theatre is appropriately staged so as to include showcase of the orchestra and the ‘Overture’ only entices with their expertise. Precision in the synchronisation of the accompanying ensemble’s dance movements confirms the professionalism of production and then Jesse Ainsworth’s final note in Judas’s ‘Heaven on Their Minds’ cements both the vocal calibre of the show’s performers and electrifying tone of the enduring soundtrack.

Set to Andrew Lloyd Webber’s and Tim Rice’s pop-rock score, the sung-through musical’s story is loosely based on the Gospels’ account of the last week of Jesus’s life, from preparation for the arrival of him and his disciples in Jerusalem through to his crucifixion. It began life as a rock opera concept album in 1970 and it is wonderful to witness the production’s nod to this origin. A rich ‘70s aesthetic is evidenced through Anita Sweeney’s palette of earth-toned costumes, complimented by stage detailing, geometric designs and Bohemian hippie styling. And the realisation of the priests with glam rock allusions is iconic, especially when they rumble that ‘This Jesus Must Die’. Director Maureen Bowra’s nuanced choreography of the group’s smallest of isolated movements gives them a signature style that stands as one of the show’s highlights.

The highly dramatised story’s depiction of the political and interpersonal struggles between Judas and Jesus (Simon Chamberlain) not included in the Bible means that strong performers are required for these pivotal roles and in this regard Ainsworth and Chamberlain do not disappoint. Chamberlain is a clean-cut Jesus whose crisp vocals contrast nicely against Ainsworth’s rough rock star sounds. His portrayal of the freethinking leader is one of conviction, emotion and vocal intensity, particularly in the epic anthem ‘Gethsemane’. The powerful, emotionally-charged number in which Jesus wrestles with his doubts in the Garden of Gethsemane has been named by Andrew Lloyd Webber as the most difficult song to sing he has ever written and Chamberlain rises to its critical challenge in show of both belting desperation and vulnerability through falsetto. Indeed, his desperate, falsetto cry of ‘Why should I die?’ is goosebump inducing.  

As Judus, Ainsworth similarly has some of the musical’s most difficult tracks, appropriately given the plot’s focus on Judus’ dissatisfaction with the direction in which Jesus is steering his disciples. And from his first appearance, he commands the stage with his indignation. Samantha Sherrin is a standout as Mary Magdalene. Her vocals are strong and compelling, bringing warmth to the character in an empathetic performance. Her heartbreakingly vulnerable ‘I Don’t Know How To Love Him’ in which Mary acknowledges that she is in love with Jesus, and how it frightens her, is another moving Act Two highlight.

There really are no weak links in the cast of performers. Shannon Foley layers Pilate with humanity as he satisfies public opinion by having Jesus whipped in ‘Trial Before Pilate’ before reluctantly agreeing to his crucifixion, and his Act One ballad, ‘Pilate’s Dream’ showcases his commanding operatic timbre. And a stellar Tom Markiewicz sparkles in the comic relief of Herod through the flamboyant King’s suggestive self-titled solo request of Jesus to prove his divinity. Ensemble energy is also high, especially in the short Act One, which includes an evangelical-like ‘Hosanna’ as Jesus greets the happy crowd in contrast to Caiaphas’ preceding declaration of the need for the leader of the twelve disciples’ death for the greater good, and the ensemble take their celebration into the stalls.

“Jesus Christ Superstar” is a show of musical contrasts, such as when we are taken from floating flute sounds to a rocking guitar realisation in the prevailing ‘Damned for All Time”. And its dynamic score is powerfully conveyed courtesy of musical directors Samantha Paterson and Lucus D. Lynch, and under Lynch as conductor of the vigorous orchestra. The score is full of energy, but also tempered with emotional pauses to afford the audience chance to catch its breath. Strings notably lighten Mary’s tender anointment of Jesus in ‘Everything’s Alright’ and though ‘Superstar’ is not necessarily the spectacle that it could be, the orchestra makes it musically glorious from the first moments of its iconic opening fanfare.

While percussion propels a lot of the majestic score, its strings and brass sections crescendo us through the climatic crucifixion to the stirring instrumental ‘John Nineteen: Forty-One’ accompaniment of the stark image that ends the dramatic second act. After earlier bathing Judus’ betrayal in rich reds, Tom Dodds’ lighting design uses the elegance of bright white illumination to aid in transfixing the audience through this appreciation of the humanity at the heart of this time-honoured show, encouraging contemplation of its larger themes around faith.

While it may be a compact length for a musical, Lynch & Paterson’s pacy production of “Jesus Christ Superstar” is jam packed with splendid reminders as to why the show has enjoyed such a long life. This is a well-crafted, well-performed and highly engaging version of the timeless rock musical. Its eclectic musical score is thrilling and its depiction of figures like Judas, Peter, Mary Magdalene and Pontius Pilate as flawed characters is absorbing. 

Photos c/o – PIF Productions

Superstar spectacular

Jesus Christ Superstar (The Arts Centre Gold Coast)

The Arts Centre Gold Coast

June 20 – 29

Since it first opened on Broadway in 1971, Andrew Lloyd Webber’s rock opera “Jesus Christ Superstar” has been interpreted in many ways, including in a number of touring and local productions. In The Arts Centre Gold Coast show, the classic rock opera gets a makeover; the setting is a celebrity obsessed Jerusalem Shore world of hyper reality. In the neon-ness of leather and sequined debauchery, the buzz around the titular Jesus is one of a celebrity, billed to make appearance at the Cobra nightclub. This bold and grand setting is realised though the creativity of optikal bloc, whose innovative work brings the seedy and corrupt world to explosive life with an aesthetic akin to the Verona Beach of Baz Luhrmann’s 1996 movie “Romeo + Juliet”. Indeed, the seven meter high LED panels that dominate the backdrop, not only bring the work to explosive life, but enable emphasis on the show’s rock roots though the incorporation of religious quotes from modern music royalty as part of the projections.

The combination of pulsating music, video backing and energetic lighting take the audience to a place that is almost overwhelming, especially given the size of the ensemble (at times with over 30 crowding the small stage). The numerous dancers are a distraction and although the choreography is good, timing is not always synchronised, which only serves to highlight a mismatch of professional and amateur performers. And the final number of Barberella-esque pink and gold costumes, is just a jazz hand away from being more cheesy than celebratory.

The cast matches the vibrancy of the show’s aesthetic in terms of dynamism; however, the star of this show is undoubtedly Dash Kruck, who sounds utterly spectacular as Judas. From his first scene, he takes a commanding place on stage and holds it throughout, playing Judas with righteous indignation and fiery anger in his dissatisfaction with the directions in which Jesus is steering his disciples. As leather-clad, rock god, Jesus, Stevie Mac is also impressive in his emotion and vocal intensity, particularly in the powerful anthem “Gethsemane”.

The musical based on the Gospel’s accounts of the last week of Jesus’ life, from the arrival of Jesus and his disciples in Jerusalem through to the crucifixion. It is a loose and highly dramatised account, focusing on political and interpersonal struggles not included in the Bible narratives. And this reimagining is particularly transformative, casting both disciples and Pilot as females. And in the case of Pilot, it is a choice that works, for indeed, in Pilot (Angela Toohey), we trust, full of intensity and fury as she is, in both word and song.

This modernised production of “Jesus Christ Superstar” is one of much passion and many strengths; it not only alters the hippy aspects of the classic production in favour of contemporary styling, but it provides the chance to witness a performer deliver an excellent enactment. And, in live theatre, there is nothing more exciting than that.