Jesus Christ Superstar
Jesus Christ Superstar, by the legendary Andrew Lloyd Webber and equally legendary Tim Rice, is a sung through rock opera. It was premiered in New York in 1971 and opened in the West End in 1972.
I was fortunate enough to see the original 1972 Australian cast featuring Trevor White as Jesus, the late and great Jon English as Judas, Marcia Hines as Mary and Reg Livermore as Herod at Memorial Drive and it has lived in my memory ever since!
The Elder Conservatorium’s production of Jesus Christ Superstar has successfully integrated the traditional score but added modern vocalisations popularised by The Voice. We are now in a modern-day world, but with references to Nazi Germany and Cabaret, and it all works superbly!
Director George Torbay AM has taken the theme of the everyman who is elevated to star status (a theme resonant in today’s society) and moulded a Jesus who is the victim of mass adulation. The blocking uses the entire stage on multiple levels of scaffolding with movable rostra as the only set piece. Together with the creative team and the cast, he has created characters that are faithful to the text and totally believable. There are multiple powerful moments that had the opening night audience cheering.
Music is all important in this production and Paul Sinkinson gives it in abundance! His 10-piece orchestra packs a punch using the original Korg programming, filling the Scott Theatre with sound and giving the performers a solid foundation. The solo singing and ensemble singing (coached by Rosanne Hosking) are powerful in the crowd scenes and nicely pulled back in the quieter emotional scenes.
Simon Greer’s set fills the stage and at the same time gives the actors plenty of levels to work on. The three red banners with the Nazi eagle to symbolise the power of the priests and soldiers is confronting, as it should be and perfectly set the scene for the arrival of Caiaphas and his minions.
The lighting is an integral feature of this production. Chris Snape’s use of colour and shadow highlights the action and accentuates the mood, particularly in Gethsemane and Jesus’ crucifixion.
Choreographers Zoë Komazec & Alexander Kermond have successfully fused many dance styles resulting in a high energy performance by the ensemble and principals alike. I loved the contrast of the frenetic movements of followers of Jesus and the stillness of the priests. The choreography using pieces of material during “Everything’s Alright’ is beautiful.
Oliver John as Jesus gives us a man torn between the love for his people and their blind adoration. While his voice had a couple of sticky moments, his ‘Gethsemane’ is heart wrenching and his crucifixion disturbing.
Ben Jones’ Judas dominates the stage! His crystal-clear voice is perfect for ‘Damned for All Time.’ His reaction to Jesus’ crucifixion is heart felt and a master class in acting!
Alana Iannace’s Mary Magdalene is superbly modulated as the only person who sees Jesus for the man he is. ’I Don’t Know How to Love Him’ was a highlight. Marcia Hines would be proud!
Sascha Debney-Matiszik gives us a torn Pontius Pilate, torn between his duty and compassion for a man who has done no wrong. He is a commanding figure both in stature and in voice. The famous 39 lashes were cleverly accomplished and hard to watch.
Liam Dundon channels Joel Grey in Cabaret as Herod with his backing of tappers in tails and blond wigs. ‘King Herod’s Song’ is always a highlight in any production and Dundon did not disappoint including ad libs to the audience!
Kaemon Wilcox easily nails the deep bass of Caiaphas and the authority that the role demands. His first notes in ‘This Jesus Must Die’ drew gasps from the audience. He is brilliantly supported by Darcy Wain as Annas.
Brendan Tomlins’ Peter is a man trapped by fear of being ‘outed’ as one of Jesus’ followers. The denial scene and his grief at Jesus’ death is moving.
The ensemble is the backbone of any musical. They work tirelessly and play many roles. We wait for the title song, ‘Jesus Christ Superstar’ and are not disappointed. The harmonies are rich and well-pitched, and their dance routines polished.
Jesus Christ Superstar is a high energy, intense piece of theatre that deserves the standing ovation and accolades it received on opening night. The production is a credit to the production team, the performers, and the Elder Conservatorium. Bravo!
Barry Hill OAM
Photographer: Greg Balcombe
Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.