Jesus Christ Superstar

The original rock opera has been freshened up with a striking visual makeover at Willoughby Theatre Company. Somehow the synthesis of Steam Punk costuming elements, the modern industrial look of Megadeck scaffold sets, and gothic influences in architecture, costuming and make-up, blend, ultimately turning possible contradictions into synergies, for a Jesus Christ Superstar in a contemporary alternate sub-culture. Throwing some spectacular contemporary rock theatrical lighting into the mix completes an exciting stage picture.

While the visuals were great, more importantly, the entire principal cast had the rock vocal chops to deliver the iconic score. Dexter Villahermosa projects presence and stagecraft in a strong, centred portrayal of Jesus; Peter Meredith’s Judas has an alienated, angst ridden, detached, rock’n’roll quality; Lucy Hood’s Mary Magdalene is a complex, fascinating creation, by turns vulnerable, feisty, loving and highly protective; James Jonathon’s Caiaphas (it’s the third time I’ve seen him in the role) lands the distinctive bass register and status of the role with ever-increasing authority; as Pontius Pilate, Gareth Davis finds the cracks in an apparently cynical, sometimes petulant, portrayal; Brad Jhay’s rock tenor is a good match for the role of Annas; Jonathon Holmes entertainingly takes the cameo role of Herod deep into Rocky Horror territory; Scott Dias (Peter) and Thomas Adams (Simon) handle their vocal duties with assurance.

In all honesty, though, this is an ensemble driven production. Act One is one big lively dance party celebration for them, establishing a vibrant, abandoned, hedonistic world of self-indulgence. Then they propel Act Two with work that is variously dark gothic, sexy vaudeville and chic pop. With attitude, infectious energy and disciplined work, they are the heart and soul of this production.

Superstar’s distinctive arrangements, firmly entrenched in our collective musical memory, are in safe hands with Musical Director Therese Doyle and her eleven strong rock orchestra. Combined with capable work from the sound crew at The Concourse, this Superstar celebrates with a big, well-balanced rock sound.

It wouldn’t be an opening night (given the insanely short bump-in I’m told the huge scale production had in this sophisticated venue), if there hadn’t been the odd missed cue or faltering note, and the occasional technical glitch, but they were remarkably few, relatively minor and easily ironed out.

Director Stig Bell and the production team - Choreographer Sarah Friedrich (assisted by Kathryn Harradine), 17-year-old Set Designer Slade Blanch, Lighting Designer James Wallis and Costume Designers Matthew Patteson and Kate Campbell- Westerway – have joined forces to realize a remarkably seamless vision.

Challenging moments to handle safely, the hanging of Judas and the crucifixion of Jesus, are handled with effective simplicity and striking spectacular respectively.

Jesus Christ Superstar offers a broad canvas for original concepts on the community theatre stage. Yet another innovative, well executed take on the show on the Sydney circuit within just twelve months speaks volumes of the diverse creative forces at play in non-professional theatre.

With personal Superstar memories stretching back to the well-worn vinyl of my copy of the concept album, and the original Sydney production at the Capitol, I’m delighted to be able to tell you that Superstar remains fresh, vital and enjoyable so many years on in Willoughby Theatre Company’s production.

Neil Litchfield