Backstage:Review - Jesus Christ Superstar

Jesus Christ Superstar. Presented by The Court Theatre, until January 19 2019. Music by Andrew Lloyd Webber, lyrics by Tim Rice. Directed by Stephen Robertson. Musical direction by Richard Marrett. Reviewed by Sophie Ricketts, Backstage Christchurch.

Once declared to be the worst idea in theatrical history, like a phoenix from the ashes (or Christ, if you’re inclined to believe) this show rose from the ground to become one of the most popular and widely performed in the world. If you aren’t already familiar with the concepts contained within the story it can be a hard sell: deemed too religious by some, anti-religion by others, and even sacrilegious for good measure, too. There are few shows which have been steeped in as much controversy as Jesus Christ Superstar. But controversy creates interest, and the ace in the hole here is one of the most progressive rock and roll scores ever created so that even those who “don’t like musicals” often find themselves lured down the rabbit hole which is Jesus Christ Superstar.

When the Court Theatre announced their 2018-2019 season I was initially disappointed that they had chosen JCS as their summer musical. I am not too proud to admit I am well and truly eating my words now: this production is phenomenal. Known for his striking costume design choices as much as his talents as a director, Stephen Robertson took this nearly 50-year-old show in a bold direction. It was refreshing to see that this production was not steeped in nostalgia, but instead it thrust the audience into a new, fresher mindset. The themes of power discovered and power abused never get old, and I felt particular care was given to ensure that we could feel empathy for Judas and Jesus equally. The casting of the ensemble was particularly strong, and I loved seeing the balance of youthful men and women on the stage to truly capture how impressionable and revolutionary Jesus' group of followers were. Here, Jesus is flanked by his contemporaries and it highlighted beautifully that he was “just a man” trying to come to terms with the titles being thrust upon him. 

The sound balance was phenomenal and kudos must go to Bounce NZ and Glen Ruske for so thoughtfully and carefully ensuring that no lyrics were lost amid the heavy rock score which was being so magnificently blasted out by the legendary on-stage band. The decision for almost all the microphones to be handheld lent the production the contemporary feel of a rock concert, which suited the style of the music and the aesthetic of the delivery. And with only a minor microphone issue in Act Two, we were treated to a near-seamless sound experience.

I felt the open space was used well, but was a little underwhelmed by the set. Harold Moot has created such immaculate work for Court Theatre productions before, and I found it surprisingly sparse and a bit boring compared to his previous recent work. However, I will concede that this did mean the physical abilities of the cast were certainly front and centre. I don’t think you’ll ever see a fitter group of apostles. The subtle revolve of the stage helped facilitate scene transitions and kept the action from ever feeling static.

Caleb Jago-Ward was a commanding and electrifying Judas. His ethereal singing gave me chills on several occasions throughout the performance and his physical presence was laced with enough energy to power the entire building. This is his Court Theatre debut and I hope, for all our sakes, this is not the last time we see him grace the stage here. Despite the fact Jesus is the title character, it is Judas who represents the beating heart of the story. The conflict and emotional turmoil we witnessed was haunting and felt beautifully intimate, despite the fact it was a full house on opening night.

As Jesus himself, Nic Kyle was raw and vulnerable in ways I have not seen this role portrayed before; so fresh and authentic, his rendition of Gethsemane brought tears to my eyes. And despite the fact I have heard him sing that glorious song in concert before, this time his immaculately controlled vocals were coupled with a heartbreaking and dramatic arc of character which felt new and timeless all at once. This man truly is a superstar.

In what is often seen as the token female role within this show, Monique Clementson was like a rising sun as she brought new life to Mary Magdalene. What I would describe it as her most mature role to date, Clementson displayed a girlish eagerness which then gave way to rich and soulful grief. Despite her character’s very limited time on stage, compared to the men, she well and truly made her mark.

Each of the supporting roles was portrayed with aplomb, and it feels wrong to single anyone out so I simply won’t. The casting decisions made here were very well considered and showcased the wealth of talent on stage. There is absolutely no weak link in this chain.

The show’s final moments were filled with silent reverence, which was powerfully evocative, but I was disappointed this was followed with the decision to have no music underscoring the cast’s curtain call. As a result, it really felt like the momentum was lost within the audience; for although we were quick to rise to our feet to applaud the talents of all involved, had there been some music to accompany our claps and cheers I have no doubt that there would have been an encore of repeat bows, which the cast most certainly deserved. Despite finishing with (spoiler alert) Jesus’ death, I don’t feel we would have lost any of the significance by bringing the mood back up for the bows.

As someone who has never really loved this show before, I take my hat off to the majestic work of this incredible ensemble. I loved this production: the voices, the visuals, the man and the myth.