Elder Conservatorium Music Theatre. Scott Theatre. 27 Sep 2024
The Elder Conservatorium Music Theatre’s (ECMT) production of Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar is ninety non-stop minutes of high-energy and high-impact musical, choreographic, visual and vocal extravagance. ‘JC’ is now over fifty years old, and there aren’t too many people who haven’t seen a production of it or haven’t heard the soundtrack, and of course the story of the last seven days in the life of Jesus of Nazareth is very familiar.
However, every time JC is remounted there are new surprises in its look and feel. This production is no different in that regard. More on that later. Lloyd Webber’s music is timeless it seems, and Rice’s lyrics still have as much impact as they did when they were first sung. ECMT’s production has very strong production values and some fresh ways of presenting the story, and the audience’s enjoyment soars high on a wave that never seems to break!
No production, whether it is a student, community, or professional production, is ever perfect. That’s the stuff of live theatre, and this production isn’t faultless either. There are some opening night jitters with the occasional mis-pitched note and mis-timed entry, but they are barely noticeable, and they matter very little. This production is as good as any other that has been mounted in Adelaide in recent times. There is much to admire, and the vigour of ECMT’s production draws you in from the very start and doesn’t release you until it’s over, but even then, one’s visual and aural memory refuses to let it go completely!
Superbly directed by George Torbay AM, ECMT’s production has big moments that wow you. At the very start, the principal cast physically emerge one by one from the centre of a singing and dancing crowd, as if being born and announced to the world for the first time. We see Judas, Peter, other disciples, and finally Jesus who is greeted with unbridled ecstasy. It’s like a mosh pit, with pop stars being greeted by fans who have whipped themselves into an adoring frenzy. It's visually impressive, and the audience’s adrenalin is pumping.
Simon Greer’s set design comprises a three-tiered shiny scaffold, which the cast access quickly and efficiently via connecting stairs. It has a Roman Colosseum feel about it, which is exemplified with long hanging crimson banners emblazoned with the roman eagle and SPQR initials (which refers to the people and government of the Roman Republic). When the Sanhedrin take to the stage, they are dressed in militaristic styled uniforms that give them a totally menacing look. For a moment, it feels like we are in WWII fascist Italy, and when Caiaphas (played and sung superbly by Kaemon Wilcox) takes to the stage and sings the words “Ah, gentlemen, you know why we are here” in deep gravelly tones, the audience’s blood runs cold, and a shiver runs up and down our collective spine. Darcy Wain in the role of Annas adds ominously to the impact. Chris Snape’s bright, colourful, snappy and empathetic lighting design runs red – the symbolism and sense of foreboding is palpable.
The stage quickly empties of cast when needed and allows fluency from one scene to another. Pilate’s Dream introduces Pontius Pilate to the stage and Sascha Debney-Matiszik beautifully sings and acts the role with steely composure and style. Dressed in a long roman skirt, a strapped chest harness and laced sandals, with a large roman eagle emblem tattooed across his strong bare chest, Debney-Matiszik looks the part. He is impressive.
The Romans and the Sanhedrin are the only cast members (almost, there is a surprise later) to wear ‘character costumes’. Almost everyone else wears ‘civvies’. The costume plot works very well indeed.
The role of Judas is fundamentally important to the musical, and it must be sung strongly and acted with expressive passion. In Ben Jones, ECMT’s production is blessed with an imposing Judas. Jones is smaller in stature than Oliver John, who impressively plays Jesus, but he plays the role with such bravura that their force of personalities seem equal. Jones’ delivery of Damned for all Time is quite stunning. One senses that he truly understands the text he sings, which in fact is a feature across the entire cast.
Similarly, Alanna Iannace as Mary Magdalene also sings with acute understanding. Her touching performances of Everything’s Alright and especially I Don’t’ Know How To Love Him allow us to clearly see Christ’s humanity and frailty.
The staging of the scene where Judas is paid thirty pieces of silver by the Sanhedrin to betray Jesus is another highlight of the production. Instead of physical coinage, Judas places his hands in a small money chest and when he removes them, they are coated in an eery liquid which is almost fluoresce in the wonderful lighting. His hands are highlighted by piercing beams of light that persist for some time. The symbolism is obvious and palpable, and the impact is unsettling. Later, the staging of Judas’ death is also different. No spoiler, but it is staged in a way to suggest that it is as much an execution as it is a suicide, and again, the impact on the audience is intense. We ponder the fact that so many people are sacrificed as unwitting pawns in wider struggles over which they have little control. In these scenes, Ben Jones demonstrated his emerging yet impressive skills as a dramatic actor and singer. When not in the limelight, he’s still in the limelight – he continues to demand attention and his off-dialogue work (body language, facial expression, reactions, close attention etc) is just terrific.
The Last Supper scene is also staged in a memorable way. At one point, Christ and his apostles very quickly form a tableau that attempts to recreate the positioning in Da Vinci’s famous painting. A nice touch – a very brief injection of humour that doesn’t diminish the pathos one jot. Following the supper, Christ retreats to the Garden of Gethsemane, and Oliver John’s performance of Gethsemane is beautiful. He has a wonderful voice and manages the upper register with confidence, clarity and strength. His performance is almost understated, which gives a strong sense of Christ’s purpose and mission, yet fear.
Liam Dundon plays King Herod, and director Torbay and choreographers Zoe Kaomazec and Alexander Kermond have Dundon dressed in black tails replete with top hat and cane as he delivers a Fred Astaire inspired tap routine while singing King Herod’s Song. It’s fun, and the bevy of blond bombshells (as if straight out of an old Hollywood musical of yesteryear) cap off the irreverence. The strong cast of named characters is rounded out with a solid performance from Brendan Tomlins as Peter.
The staging of Christ’s scourging at the command of Pilate is also impressive. Again, no spoiler, but instead of a whip, Christ’s tormenters lash him with streams of bloody liquid. Oliver John as Christ does very well to convincingly play someone in extreme pain and distress while Pilate counts the lashes as the baying crowd cheers on. The crucifixion scene is equally affective, with Christ tied to a section of the scaffold set which is then carefully illuminated to create the illusion of the upright wooden beam and transom that form the traditional ‘cruciform’ structure. It’s lump-in-the-throat stuff.
Musically, the production is excellent, as one would expect from a production by the prestigious Elder Conservatorium. Musical director Paul Sinkinson’s ten-strong ensemble is on the ball from beginning to end. The show demands a big electronic sound, and this is delivered in spades by the keyboards. Brava! The score’s rhythms are unforgiving, and the drums and percussion clearly articulate and scaffold the score for the cast to perform against. Musically, this is one of the strongest outfits to be heard recently in Adelaide theatre.
The choreography is exciting, up tempo, and for the most part tightly synchronised to the spiky rhythms and varying tempi of the score. Did I say exciting?
The chorus is tuneful and well-rehearsed in ensemble work. To a person, their ability to faithfully execute song and dance with grace, precision, athleticism, diction and accuracy is a joy to watch and hear. At appropriate times, their smiles filled the already filled Scott Theatre. They are all double threats, if not triple! Kudos to ensemble vocal coach Rosanne Hosking.
The cast is large, and when they are all on stage in the big production numbers, there is scarcely an empty space. It’s a superb display of direction and stage management that it all works so well.
ECMT’s production of Jesus Christ Superstar has much to commend, and it is an absolute joy to see how the Elder Conservatorium is playing such a vital and important part in helping train Australia’s next generation of professional musical theatre performers.
ECMT’s next production is Alice By Heart to be presented in the Little Theatre on 10-13 October. It is a touching musical inspired by Alice’s madcap Adventures in Wonderland. If you have not yet seen Elder Conservatorium Music Theatre in operation, do yoursef a favour. Get along and see it.
Kym Clayton
When: 27 Sep
Where: Scott Theatre
Bookings: Closed
