Jesus Christ Superstar
Festival Players
ADC, Cambridge
Star rating: 3.5
It’s always a terrific treat to hear what is probably Andrew Lloyd Webber’s finest score. Its angry cross rhythms, anguish and wistfulness complement Tim Rice’s lyrics perfectly. I’ve seen a number of productions over the years right back to the original London 1972 version which blew me away. And I’m happy to report that this high standard show, under Suzanne Emerson’s direction, ticks many of the boxes.
Andrew Ruddick is magnificent as Judas, one of the most complex roles in opera – and yes, I’ve always argued that Jesus Christ Superstar is every inch a rock opera rather than a “mere” musical. He agonises, argues, dances with cheeky panache at the end and has a splendid rock tenor top belt. It’s a bravura performance. And Emma Vieceli is as good a Mary as I’ve ever seen. She packs in all the warmth, sympathy, passion and anxiety the role needs and sings beautifully, especially in the show stopping number “I don’t know how to love him”. I also admired Matt Wilkinson’s suitably dead pan, gravelly take on Caiaphas and Rich Evans as Pilate, especially in his first number.
The ensemble is skilfully choreographed by Laura Saunders who has built in lots of original shapes and gestures. Moreover it accommodates cast members who aren’t professional dancers but who are slickly trained in a way which sustains the visual energy for every minute of the show. The ensemble singing (MDs Sam Kirby and Joe Griffiths) is generally strong too with only one or two ragged moments on the opening night.
There are a few problems, however. Normally I’m all in favour of gender blind casting and a female Jesus is a richly interesting idea. Moreover Vikki Jones is a highly talented performer who finds oodles of charisma in this role. Good as she is as a singer, though, the part is technically awkward for a female voice and she has to do far too much octave shifting. The text refers to Jesus throughout as “he” so we have to accept that this is a woman playing a man. Yet, it’s a very feminine interpretation. That does, however heighten the vulnerability and makes the thirty nine lashes scene seem even more horrifying than usual.
It’s good to see, and hear, the five piece band centre stage on a platform behind the action playing the most pared down version of the score. It comes over well (one or two opening night, sound balance problems notwithstanding) although at times it could have done with an additional live melody instrument such as trumpet or trombone.
Despite those reservations, this Jesus Christ Superstar is well worth seeing. It pounds along and it works. As ever I had to swallow a lump in my throat during that moving postlude from the band as we reflect, finally, on the horror of the crucifixion – and, on a personal note, for the record, I have always come to this show as a Christian non-believer.
