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Show: Jesus Christ Superstar
Society: Sedlescombe Players
Venue: Sedlescombe Village Hall, Church Hill, Sedlescombe, East Sussex
Credits: Music by Andrew Lloyd Webber. Book & Lyrics by Tim Rice.
Type: Independent (registered user)
Performance Date: 03/03/2020
Jesus Christ Superstar
Paul Johnson | 04 Mar 2020 22:43pm
Photo: Peter Mould
I would think any passer-by in the Sussex countryside on this late winter night might have been forgiven for thinking a festival was taking place in the distance once the music exploded into action. Sedlescombe Players have returned to a musical offering and the particular genre of rock opera.
This company led with tenacity by Tara Buchanan is unphased by not playing in a theatre and yet again this fine multi-functioning village hall is nightly transformed into a theatrical venue. The small stage is visually changed by scenery extensions on either side of the stage creating an illusion of a larger space. The company creates It’s own scenery and additional coloured lighting is rigged. The seating layout is at tables decorated with palm leaves in vases and tea lights. The tables are also used as at some performances the tickets include a supper or afternoon tea as well. With a bar operating and programmes available for a donation a great atmosphere is created as the lights dimmed and the open stage was illuminated.
The band struck up and again it is wonderful to hear ‘live’ musicians in age of pre-recorded music. This represents a large financial outlay for any society where otherwise volunteers are the key to survival. Daniel Goodger is musical director, ably accompanied by other profesionals, Carl Greenwood, Alex Steer, Ollie Boorman & Dan Humphreys. As this is rock opera, the emphasis is on volume both musically and vocally. Despite it being rock, I still like to hear the lyrics but the sound balance on the louder sections was weighted in favour of the musicians. The musicians are in a side room and I imagine it is no easy task following singers on relay screens.
The music is not of the period represented and concept of this early work of Andrew LLoyd Webber and Tim Rice was at the time the antithesis of musical theatre. The very idea of presenting one of the most venerated, divine figures from 2,000 years of history was controversial, but in essence there is nothing that really could cause offence. Nowadays the cult of celebrity is something regrettable that we were yet to be encumbered by. When this show was finally produced, traditional faith was, in general, more prevalent than now. People became famous for their deeds of achievement or notoriety, either of value to the wider world or to it’s detriment. I wonder if the long awaited second coming of Jesus Christ, for the faithful, would be recognised as such or would indeed end in tragedy.
I like that the programme credits everyone concerned, as it takes a large team on and off stage to bring this production to the public. I particularly enjoyed the singing of the pit choir (onstage) with clear and effective harmonies. Choreography was lively fast paced under the direction of Naomi Wareham and using the limited space fully. A difficulty not perhaps realised by the audience is that there are two rear doors for all entrances and exits and no wings to utilise. Producers Isabel Fisher, Ian Wallender and the entire team have used props, scenery & staging effectively. Glittering moments (literally) in the lighting with the gold and the betrayal money and trading in the temple being symbolically shown.
Music in all of it’s forms is universal and we all respond differently in our preferences. I am generally adverse to rock and to the modern vocal performances in the television talent world where singers are lauded for their display of volume and vocal ‘gymnastics’. This is not without skill but is wearing after awhile. What lifts this show is the early talent and collaboration of the writers and whilst I might not enjoy it on disc, to see performers ‘giving their all in very close proximity can only elicit applause and that is how this was meant to be seen, ‘live’, raw and unrelenting. This being Lloyd Webber, light and shade is what enhances the work with quieter passages and even some jazz at one time. This was only my second ever viewing of the show and there was much I did not recall.
This company attracts some accomplished and experienced principals from the local pool of performers.
Superstar evolves from the surprising perceptions of Judas ,the name alone the personification of betrayal. Was he fated or chosen? Was his fate sealed to be forever vilified? Is it a coincidence that the Jew betrayed the Christian at a time and the local population demanded death for Jesus, but being under the subjugation of the Roman occupiers. Pontius Pilate tries to save him, but everyone is under authoritarian scrutiny and keeping order is vital to avoid more oppression. Kitson Wellard is ideally cast as the rock singer Judas, with power and huge energy be gives everything to the role and ultimately Judas asks why it is him? He cannot live with himself and commits suicide.
Alice Creasey returns to this company to portray Mary Magdalen. Alice is now even better as a singer. The writing of this female character is not as strong as expected but maybe that is because so much more information has been communicated about her in the intervening period since the 197o’s when she was still rather dismissed as a ‘fallen woman’. Alice wisely concentrates on the singing and looks stunning on stage. For me there are ‘colours’ in her voice as her confidence and experience has grown. Alice gave a considered rendition of I Don’t Know To Love Him, a song which emerged from the work and helped greatly in the wider popularity of the show.
There are 25 programmed musically identified numbers, which in trying to identify and recollect, to a degree merge into a sequence, in the absence of dialogue and this being an opera.
An actor and singer we do not see enough of now is Mark Stevens who returns to this company as Peter. Mark is a fine singer in leading roles and demonstrates that smaller roles can be interesting and worthwhile for any performer. Peter is a fascinating character but in this we only really see him in the period of the final days of Jesus. We see the denial of Jesus Christ and in his demeanour the realisation that foretold event would happen. Maybe all of his future was already decided in the divine knowledge and the frailty of personal courage and conviction when faced with the prospect of a lingering and cruel death.
Another rock performance comes from Adam Packham as Simon Zealotes. As with the rock moments, modern microphone stands, the very casual modern dress gives air of stadium rock.
Seth Ringrose stands out as a dancer.
Paul Goring brings a rather whimsical Pontius Pilate, perhaps performing rather than portraying the character, but singing well.
Good support from Alexander S-Roberts (Priest), Mick Woodhams, with his distinctive voice as Annas and Nick Brown (Caiphas).
Leslie Brissett was entertaining as Herod, portrayed here as a camp cabaret performer rather than a dynastic King, albeit with diminished powers.
Last the pivotal title role of Jesus Christ, in all probability one of the most difficult characters from the last two thousand years to bring before an audience. With all religious icons, to the faithful they evoke a particular depth of devotion. This show is essentially an entertainment, Jesus as a 1970s rock star celebrity. Nathan McDonald has worked hard for a long time and belies his years with a lot of experience garnered over a fairly short time. As expected, he does not disappoint and appears completely in control in the more raucous rock sections but it is in the quieter passages when he really uses his voice to greater effect. Nathan McDonald shines in the way he contrasts all the frenetic movement around with his gentle demeanour and in the interchanges with other main characters when he convincingly intimates that Jesus is either very charismatic and as a ‘superstar’ of the time wows the crowds of oppressed locals who have been guided that a messiah will save them or indeed is something more, an enigma. The passion of the Christ in this rock opera is mixed, the brutal flogging is suggested with choreographed dancers which makes it more difficult for him. However when he is released, he crumples into arms, his lacerated back on display. The crucifixion is shown, once it has occurred, suggested by the physical position of Jesus in the later periods. Nathan McDonald handles this very well indeed in the limitations of a rock opera entertainment. As the body is taken down and his pale corpse is lifted away, his bearing is that of a dancer held aloft, it is with quietness we observe. There followed complete silence in the auditorium. maybe the moment meant different things to different people.
The whole company returned for a strident finale to well deserved applause and some people stood. As this hall is used for community events all of the floor space has to be cleared and reset today. Tuesday was an extra performance and also ‘sold out’ as are the remaining performances.
- : user
- : 03/03/2020