“It resonates on a deeply authentic level…A stunning resurrection of a musical“
Kate Stratford
5 superstars
Capitol Theatre
Sydney
6 November – 26 January 2024
A rock band of considerable virtuosity pumps out that overture and there are goosebumps and thrumming in the blood waiting for that crescendo. It may be old, but there cannot be many more opening bars so recognisable as those of Jesus Christ Superstar. Andrew Lloyd Webber and Tim Rice’s music and lyrics are still bangers; and this Olivier Award winning version must be considered the benchmark. This from someone who saw (as a wee lass) Trevor White and Jon English back in the day! As with most other productions, this is a high energy, musical, visual, vocal and choreographic extravaganza. But it offers something more.
This one has a soul.
When JCS was first staged all those years ago, there were howls of blasphemy largely ignored or derided by the atheists amongst us (me included). A secular society today demands something more and British director Timonthy Sheader offers up a host of visions. He sets the rock opera in a world which seems almost post-apocalyptic but is certainly, at least, strife torn. The industrial set features a timer looking metal scaffolding structure that holds the performers and a live band. A large cross dissects the stage and serves as a platform for some of the biggest numbers. Costume design (Tom Scott) is divine, at once both period and contemporary. Hints of Judas’ zealotry in the fringing of what passes for a prayer shawl; Judaic patterns on the shawls of the Priests, harem pants and hoodies which function as cowls. We are somewhere and sometime both then and now. Lighting (Lee Curran / Gavan Swift) plays off the set and costumes and it is a hot summer in – well, a hot summer somewhere. In theatre, it is delightful when design complements theme and story so perfectly.
Visual metaphors are cunningly laced throughout – the most thrilling being the silver blood money Judas cannot wash from his hands. A reference, no doubt, to Sheader’s extensive Shakespearean work. Not a spoiler – the promotional poster shows Judas’ hands covered in silver. But there are many other moments. Watch for the apostles flanking Jesus like angel wings. Da Vinci’s Last Supper is cleverly referenced and in an attack on evangelical religious organisations which make millions by touting their versions of so-called Christian teachings, each merchant in the Temple scene conducts business whilst holding a cross.
The Australian Associate Director – Shaun Rennie – has done great work with the actors to ensure they achieve authentic characters that reach beyond the limit of their lyrics. Like other main performers, Peter Murphy mines his Pontius Pilate for depth of feeling and along with Jesus and Judas, is burdened with the heaviness of fate. The High Priests, Annas (John O’Hara) and Caiaphas (Elliot Baker) have registers deep as the netherworld and their presence is chilling. The moment when they up-end their ceremonial staffs to become microphones is yet another play on power and drama. Reuban Kaye’s Herod is a suitable camp number which evokes the Slaughter of the Innocents and as Kaye himself ad libs, nails it. Also nailing it is Mahlia Barne’s Mary, who sings with clear understanding of Jesus’ humanity and frailty whilst her duet with Peter (Tana Laga’aia) “Could We start Again Please” will tear the tears out of you.
Michael Paynter reclaims the role of Jesus as he bleeds for us. His performance draws parallels to musician Ren Gill – there is the same liquid vulnerability; a folk hero; a poet seeking to speak truth to power. The pain of a good man driven by expectation and demand to exhaustion and despair, Paynter’s Gethsemane was literally a show-stopper; the audience were on their feet and the cast had to hold the moment until the patrons were ready to go on. Often the role of Judas usurps that of Jesus, but this center firmly belonged to Paynter. This is to take nothing from the equally impressive performance of Javon King as Judas, the unwitting pawn in a power game. It is more that the space and story – for the first time in all my viewings – was equally shared. Jesus and Judas are men on parallel paths, each journeying to the point when they realise their destiny cannot be avoided.
An ensemble of triple threats are all things – apostles, priests, common people, journalists, a braying mob, Roman soldiers; all playing out in frenetic, perfectly synchronised movement; rituals encapsulating the inner turmoil of the main characters as well as the lesser ones. Hand imagery is established early and realised in such a way as to become the new iconic image. Originally choreographed by Drew McOnie, the Australian cast is kept on their toes by Bree Topoki. Conceptually, dance and movement are how the mob seeks a closer connection to their hero, their god. The focus and perfectionism is fronted by mob leader Darcey Eagle. It is a style of choreography which took root in New York early this century; the cut through being intense physicality which portrays emotion.
There is a synergy in this production; shared understanding of the narrative being conveyed as well as a cohesive vision which set this version apart. It resonates on a deeply authentic level. The collective effort shines through in every scene and musical note.
A stunning resurrection of a musical.
Kate Stratford, Theatre Now
Photo Credit Jeff Busby
