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Jesus Christ Superstar at The Alban Arena***

The ultimate rock opera, Jesus Christ Superstar has it all. Recounting the final days of the life of Jesus, its heart-thudding score provides the perfect musical backdrop to its story of love, betrayal and sacrifice. A demanding piece, Jesus Christ Superstar asks a lot of its cast; a performance without conviction reduces it to melodrama.

With a set very reminiscent of a Pink Floyd album cover, its presence and simplicity added a stark serenity to the stage, giving gravitas and focus. Coupled with some dazzlingly effective lighting and some breathtakingly energised dancers, the evening promised much.

A lightweight opening curtain created a somewhat shaky start. Poorly atuned radio mics made for distinctly muddy vocals, which diminished the impact of the early singers. Things picked up with the arrival of the priests whose ruthless malevolence was plain to see. With his menacingly rich timbre, Caiaphas’s (Pedro Lloyd Gardiner) thundering bass was aural dark chocolate while David Duffy’s strong portrayal of Annas was manic and nasty in equal measure.

In contrast to the boom and bang of the chorus, Kerry Lee’s (Mary) subtle singing provided vocal respite. After a first act which failed to really take off, act two was tighter and more intense as Jesus’ (Daniel Bogod) impending fate loomed large. His earnest interpretation was edgier in act two with the crucifixion scene being taut and highly charged. It made for uncomfortable viewing, which is precisely the point.

Julian Wathen (Judas) grew in stature throughout the evening with his Superstar number being the perfect vehicle for his vocals, while his suicide scene was a moment of real poignancy.

Mike Monk’s superbly timed and expertly executed Herod was outstanding, while Robert Milner’s sober portrayal of Pilate as man genuinely wrestling with his conscience over the fate of Jesus was well-judged.

Fleur Wright

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