News
Jesus Christ Superstar
Posted on 13 Apr 2014, 14:29
Another successful production ended on the 12th April. BOS Musical Theatre Group produced the Andrew Loydd Webber Classic - Jesus Christ Super star.
Anthony Michaels attended the dress rehearsal and this is his review:-
BOS Musical Theatre Group’s production of the
Tim Rice and Andrew Lloyd Webber musical Jesus Christ Superstar, which
runs nightly at Blackfriars Arts Centre at 7. 30 pm until Friday, with
an additional matinee performance on Saturday at 1. 30 pm, followed by
Saturday’s evening performance at 6. 30 pm.
Rice and Lloyd Webbers’
first smash hit is BOS Musical Group’s timely production, just before
Holy Week. Directed by Stuart Bull, Christ’s last week before the events
of Easter is told from the perspective of Judas, the disciple who feels
that things are getting out of hand.
The stark, dramatic black
and white set allows characters and events to take centre stage, while
different levels facilitate intelligent staging, bringing out the power
play between characters, such as the Jewish priests, glowering above the
action of people on the ground level.
The lighting design of Stuart
Bull, Alan Aldous and Lesley Smith contributes to mood and
characterisation beautifully, for example washing the saturnine Caiaphas
and his priests in blood red light, contrasting them with the pristine
white Jesus who has been dragged before them. The scene where Christ is
beset by lepers is highlighted by effective lighting effects, as is the
section following Christ’s arrest, which sees Judas backed by a
suitably dramatic lighting motif of blood-coloured crowns of thorns,
highlighting his betrayal.
Costumes by the Violet Truelove Wardrobe
are superb, from the homespun of the disciples and the crowd to the
majestic purple of Pilate, while Caiaphas and priests brood
magnificently in full length black robes. Deliberately anachronistic
touches work well: the hedonism of Herod’s court is reflected in silver
and white, with dancing flappers and white tie and tails. This reaches
its apogee when Judas returns as a modern hipster, the polar opposite of
the son of God he has returned to mock.
Performances sit well with
this production’s values. While the main players act, be sure to notice
the crowd – everyone is acting and reacting, telling their own story as
well as the main one; it is refreshing to see such ensemble playing in
an amateur musical, while transitions between scenes are managed
slickly.
Steve Dickons’s Jesus treads the line between natural
authority, for example in the temple, and bewilderment at his
circumstances and the demands made of him, easily moving the audience
in numbers such as “Gethsemane” and the whipping – you’ll wince. The
crucifixion scene will remain with you, as he is lashed to the cross and
then raised above, right in front of the audience – the most powerful
sight on Blackfriars’ stage for some time.
A counterpoint to this
suffering is Sharon Sinnott’s Mary Magdelene. Her comforting presence
amidst the turmoil is communicated well, as is her confusion and
yearning in “I don’t know how to love him”.
Jon Molson’s harrassed
Pilate is solid and believable, as is Matt Barnes’ Peter, while Declan
Bryan’s Caiaphas is the true eminence grise behind the arrest and trial.
But this is Judas’s show. His angst, nicely communicated by Rob
Callaby, and his conflict with Jesus drive the action – as you should,
you can identify with this character manipulated into the role of
villain.
As the world gears up for Easter, see this production to
appreciate both what the religious fuss is about, and what musical
theatre can be.
