Jesus Christ Superstar

This musical is arguably a classic and deservedly popular, as an expectant full house at the State Theatre proved at curtain up.

The company decided on an analogue production, with a nod to earlier iconic versions: three levels of angled scaffolding leading to an apex upstage; and a steeply-raked stage to lend some portent to entrances and exits, and throw the focus on a huge crucifix, picked out in lights at peak moments.  The orchestra, under the baton of Anthony Gabriele, was ensconced over two levels, onstage, as appears to be Production Company custom, and provided the musical drive for the evening, with guitarists Marcus Kurban and Tim Henwood featured with virtuosic relish.

Zoy Frangos, in his first major role, came across as a deeply angry and darkly brooding Judas, as he delivered “Heaven on their Mind”, keeping himself apart from the rest of the cast as they exploded joyfully onto stage for “What’s the Buzz”, bringing Rob Mills’ Jesus and Alinta Chidzey’s Mary into the mix to complete the triangle at the heart of the show. Alinta Chidzey performed “Everything’s alright” and her few other numbers very simply and sweetly, but with no great distinction.

Although there were a few iffy musical moments, the cast delivered the story, and the production and costumes were gloriously realised, especially for the gaudier numbers with Herod and Pilate. 

However, despite the vast amounts of energy the company poured into their performances, for me there was an odd disengagement with the material and with the audience until Jesus was taken prisoner, and finally the show gained some emotional and musical traction.   

Even for a musical as well-known as this one, the lack of clear diction by almost all members of the ensemble was something of an unforgiveable sin.  Then, too, there would be odd moments of overly-enunciated text. Add a great deal of awkward physicality displayed on stage – cast members touching and clutching at each other often and for no good reason, the odd postures Rob Mills assumed to sing, the bizarre scene where Jesus is abused in ‘slow motion’ as Mary sings ‘Can we start again please” – and it points to a lack of ease and familiarity with the material, and half-formed characterisations, where the cast faithfully delivered the music as written, but without any great fire.  Even Pilate’s Dream was sung in a carefully subdued manner by veteran Michael Cormick. 

The score demands nothing less than full enagagement, as Mills and Frangos discovered as they walked their way through music where they should have soared.  Mills’ musical theatre background stood him in good stead for the more lyrical moments, but as he delivered “Gethsemane”, he was clearly working everything he had; while Frangos relied more on emoting than solid vocal delivery at key moments. 

However, there were some splendid vocal performances – Paul Hughes and Stephen McDowell as the priests Caiaphas and Annas were a highlight, grounding the production whenever they were on stage.  McDowell’s assured falsetto and icy, pitiless determination made Annas a force to be reckoned with.  Trevor Ashley’s Herod was pitch-perfect, as he strutted on stage in a golden suit under his name literally in lights.  Ashley’s megawatt performance helped the production click into focus as it entered the endgame of Jesus’ story.  Pilate’s second appearance as a man of power who has no wish to use it allowed Cormick to come into his own.  The “39 Lashes” scene was powerfully enacted, leading to a great moment of intimacy between the pleading Pilate and a bloodied, resigned Jesus.  

Rob Mills’ suffering in the second act was skillfully and believably done, and he inhabited the character fully, particularly the moment where the crown of thorns was jammed on his head.   Zoy Frangos’s return as Judas to belt out “Superstar” was easily his best singing of the night.

Alex Armstrong