As a 16-year-old doing my VCE, I couldn’t believe my luck that I got to analyse a rock musical as part of my Music B studies. My Catholic girl’s school allocated me the Andrew Lloyd Webber and Tim Rice rock opera, 'Jesus Christ Superstar'.
What grew from there was a love of the music, and experiencing 'Jesus Christ Superstar' on stage whenever possible. As such, I consider myself a super fan – and given my musical degree pedigree as a qualified musicologist across the specific subject of popular music, I’m going to say. . . I think I know a good version when I see one.
On that note: this, my friends, is an outstanding presentation of 'Jesus Christ Superstar'. Possibly the most true to the film version in terms of characters and singing than others I have seen. Every single voice on the stage is outstanding, displaying levels of talent that one can only dream of.
The modernisation steps in with wardrobe and design, which some may like or dislike since it feels very 2000s, with drop pants, runners and drapery. On that note, I like it – I know immediately the work is looking to present a modern take. This isn’t hippies getting off a bus in the '70s to present the musical, this is modern (possibly street kids) presentation with a set that has more in common with 'Rent' the musical than the desert. Personally, I couldn’t care what they are wearing because it’s about the delivery of the songs and the storytelling within, and this production for me is a ten out of ten.
Wow! Michael Paynter has a set of vocals on him, hitting those falsetto notes with not only ease but just absolute magnetism. . . Which this role of playing the ‘son of God’ needs.
Image © Jeff Busby
His JC is vocally very Ted Neeley (the original) and I pick up on that immediately. You have to feel as though he’s almost angelic. You have to feel as though Jesus is screaming at God, and I do!
There’s a point to lifting the vocal for the male to the point of almost impossibility. Musically, we have to feel as though Jesus is screaming at God, “Why? Why do I have to die?” and of course that’s where it’s going, isn’t it? It’s heading towards the highest notes to be sung by this role on the word ‘why’ on G5 and ‘die’ on G#5. That’s the analysis part of the review over, but hopefully it helps anyone who doesn’t understand the mechanics of music, composition, or the psychology of music. . . Or why we have a character who appears to be scream-singing. That’s the entire point. He’s supposed to sound like that. Also, it’s a rock musical – this was written during the era of Led Zeppelin, and if you can’t hear the references to Robert Plant and this era then I suggest revisiting 'Stairway To Heaven'. The music was of its time and still resonates today.
Judas is played by Javon King, and from the moment he starts singing, I know he's going to be an incredible Judas – with all the twisted feelings of love and hate and jealousy and feeling torn between right and wrong that goes with it. He is quite simply outstanding. I have to mention also, Graeme Isaako who plays Simon in the ensemble. There’s a moment in the piece where the character of Simon needs to deliver an incredible high note, and not only does Isaako hit it, but he holds it for such a time that it has me wondering if he's practising circle breath, because it is unbelievably long and strong! Wow, what a voice. I think Graeme (if he’s not an understudy already) could one day step on to the stage in a version where he plays Judas or even Jesus.
Image © Jeff Busby
Mahalia Barnes presents a beautiful version of Mary, and her version of 'I Don’t Know How To Love Him' has jazz delivery overtones for me rather than rock musical, which I really enjoy. Reuben Kaye as Herod is in my mind a brilliant, modern twist. Reuben brings a delightful nastiness to the role. If someone hasn’t thought of casting Reuben as Dr Frank-N-Furter in 'Rocky Horror', can they please get on to that? After seeing Reuben as Herod, I think Frank-N-Further is role he was born to play. Regardless, as Herod he brings many modern war references that I am sure are not lost on the audience. He is also funny, which, although this is a musical with a serious story, I think adds a wickedness to the character that elevates the role. Special mention to Peter Murphy as Pilate who also delivers excellent vocals.
Set design is understated and focused on the cross as the focal point. Perhaps the only thing I would love better is if they figured out how to turn that massive wooden cross around and pull it up on stage, with Jesus on it. There are sparkles used to represent the lashes which, from my perspective in the audience, makes it appear not as sparkles but as sweat or blood flying off Jesus's back – this is a clever visual trick. The lighting is atmospheric and I really love it when, in particular moments, they bring the house lights up to illuminate the audience.
All in all, outstanding performances from the entire cast. Masterful direction from Timothy Sheader, wonderful choreography from Drew McOnie which has some excellent nods to the original stage version and the '70s film. If you’re a super fan like me, I truly believe that you will love this version of 'Jesus Christ Superstar' and want to see it more than once.
Brilliant! Clever! Outstanding talent! Fantastic performances! These are all reasons to add 'Jesus Christ Superstar' to your calendar.
★★★★★
