Stellar performances and fast-paced live rock music combined with clever use of multimedia and spectacular lighting in an epic opening night for Taieri Musical’s production of Jesus Christ Superstar last Thursday.
The large audience was mesmerised by the sheer scale of it all, responding with cheers and thunderous applause.
Directed by Taieri Musical president Ben Thomas, who also designed the large and impressive set, and produced by Tania Graham and Rowena Monson, the fully local production stayed true to the original music of Andrew Lloyd Webber and Tim Rice’s smash-hit 1970s rock musical, while updating the show with clever use of modern elements.
Musical director Samuel Leaper and a top-notch 16-strong band accompanied the Jesus Christ Superstar action from the wings, keeping the high-energy production driving forward, and choreographer Cadyne Geary’s work with the cast created many fantastic ensemble sequences, while allowing room for strong vocal performances.
Leading the energetic and committed cast, the principal trio of James Adams (Jesus), Max Beal (Judas) and Sophie Whibley (Mary Magdalene) were fantastic, individually and together.
In the titular role, Adams sang brilliantly, conveying the full range of emotion while maintaining impressive vocal control during some very difficult passages. His performance of Jesus’ battle with fear and doubt in Gethsemane was one of the show’s highlights, and his death on the cross was heartbreaking.
Beal was equally superb in the challenging and pivotal role of Judas, managing the fast-paced Heaven on Their Minds and the high emotion of The Last Supper and The Arrest with aplomb.
The purity of Whibley’s voice and her calm presence was wonderful in the role of Mary Magdalene, bringing gentle beauty to two of the show’s individual highlights, Everything’s Alright and I Don’t Know How to Love Him.
Darrel Read was suitably stern and menacing as Caiaphas, with Clare Lewis strong in support as Annas, while Charlotte Mckay tackled the role of Pilate with commitment and fine vocal skills.
Greg MacLeod brought energy and a delightful sense of fun to Herod, camping it up while singing strongly in King Herod’s Song.
Anna Langford was equally strong as Simon, and Mason Bouzaid gave a committed performance in the role of Peter, showing his agony during the three "Denials" and singing beautifully in his duet with Whibley (Mary) — Could We Start Again, Please?
The large ensemble were energetic, adaptable and responsive throughout, taking on the roles of joyous Apostles, stern priests, scarily fascist-looking Roman soldiers, angry crowds and angels, and singing superbly. Ensemble members were also excellent in several dance sequences, in particular backing up MacLeod in King Herod’s Song, and the epic Superstar, led by Beal (Judas).
Designed by Thomas and built by a team led by set manager Paul Mulholland, the Jesus Christ Superstar set featured a broken Moorish archway alongside Victorian stained-glass windows, presented within a devastated landscape that evoked the remains of a war-damaged church.
Lighting and vision design by Alex Jones enhanced elements of the set and lead performers, while also adding its own spectacular highlights.
Video projections gave a sense of guerrilla protest footage while a social media-style mobile ambush transformed Peter’s Denial into modern public shaming.
Designed by Christine Wedlake, the costumes cleverly defined the different groups of characters in Jesus Christ Superstar, including the casual, church youth group-style Apostles, the black leather-clad priests, the frightening helmeted soldiers, colourful Herod and the joyful winged angels.
All in all, Taieri Musical’s production of Jesus Christ Superstar is a truly impressive achievement, spectacular and thoroughly entertaining. Highly recommended.
The show continues at the Regent Theatre until Saturday.
