Jesus Christ Superstar

The energy charge in this production is enough to light Redcliffe peninsula for a week.

Children of parents who were teens in the 70s and 80s were introduced to JCS through the parents’ record collection. Now they love it. Many of them are up on stage reviving that adrenaline rush of the rock’n’roll generation.

Last year, Phantom of the Opera set the bar high for this company. The entertainment potential of this show has not diminished, but there were a few rough corners on opening night: vocally, with the sound system and sound balance; Jesus’ crucifixion crown; and in the band. I suspect all will be rectified for the rest of the season.

Everyone remembers Judas, Jesus, Mary and Herod from any show they see. Clay English (Judas), Simon Chamberlain (Jesus), Erika Nadei (Mary Magdalene) and Dale Shearman (Herod) should linger in patrons’ minds across coming generations. (Herod always attracts unbalanced attention because Webber and Rice realised they needed to release the building tension in Act 2 by writing him an upbeat scene where he can use a dancing entourage. In this production the dancers made the most of that opportunity!)

Choreography (Meredith Johns) is street modern, defining Jesus’ connection with ordinary people – many eye-catching performances there.

The simple double-level set, with steps to suggest a town square is effective, and use of video (design by Clay English) adds a new dimension to the show.

So much admirable work. Madeleine Johns, her team, cast and crew have pulled together another hit!

Jay McKee