Jesus Christ Superstar — OSMaDC (Melbourne)

I attended the preview of the Old Scotch Music & Drama Club's production of "Jesus Christ Superstar" at the Geoffrey McComas Theatre last night, Thursday 15 October. This is the group's second production, after last year's stand-out season of "Les Miserables".

I'd been told that this production had been extensively re-worked into a more contemporary, revolutionary setting with a Generation X context and musical slant. I was looking forward to experiencing this adventure from the highly respected production team, especially in view of the predominantly Baby Boomer (and older) audience I watched filling the auditorium almost to capacity.

Did it work?

Absolutely!

In the superstitious realm of Thespis, a flawless preview is a disastrous omen, and this played true to classic form. So I've ignored the occasional artistic and technical glitches and focused on the real substance -- which is rock-solid.

By any standard, this performance was a triumph, on every level.

Conceptually, it was daring and edgy, just as the Andrew Lloyd Webber/Tim Rice musical itself was daring and edgy when it first appeared. No impresario had the nerve to mount a stage production, so it was released initially as a record album, until it was a proven hit with potential audiences and went on to set record after record on Broadway, the West End and around the world. But with time and exposure, the edginess has been blunted and the daring worn dull.

I suspect Sir Andrew would heartily approve of this vibrant makeover.

This is, first and foremost, a musical, and the production succeeds so well largely thanks to the impressive work of Music Director Ben Hudson, but also to the talents and skills of the principals, chorus and especially the orchestra, which is outstanding.

When I entered the theatre, the orchestra was visible at the back of the stage, split into two groups at either side. It took me back over 40 years to the first Melbourne production of "Man of La Mancha", which used an identical orchestral placement, to powerful effect.

For the most part, the orchestra is unseen, thanks to a scrim (transparent backdrop made opaque by lighting) that serves as a cyclorama without any loss of volume or quality of musical accompaniment. At appropriate moments, the orchestra is visible to add to the atmosphere -- including what I can only call the "Crucifixion Cabaret" scene, featuring Judas in a black, rhinestone-studded costume that would be the envy of any Vegas Elvis impersonator.

If that all sounds crass, it is -- and deliberately so. But it's so gaudily Grand Guignol that it actually had the effect of both underscoring and relieving the real horror of what was taking place, centre stage. Cleverly and deftly done, like all of Alan Burrows' artistic direction.

The new musical arrangements are exciting and complement the contemporary setting, complete with revolutionary cadres, riot police and an overpowering atmosphere of political and ecclesiastical connivance. This intimidating, claustrophobic milieu is powerfully enhanced by the monolithic (but movable) scenery. A second scrim is used to excellent effect in some crowd scenes and, in fact, the whole visual impact -- scenery, lighting, costuming and make-up -- lends a brooding, post-modern overtone that adds an almost Kafka-esque quality to the storytelling.

Crowd scenes are a highlight of the direction and choreography. They move fluidly and change constantly, adding another impressive dimension to the overall spectacle. Lighting and sound are seamlessly and expertly integrated so that they lift the experience for the audience without drawing attention to themselves. This is true, too, of the occasional live and recorded video segments, whether displayed on the overhead screens or on the scenery as a whole. It enhances without gimmickry or distraction, and is used with restraint.

Gérard Schneider as Jesus delivers a convincing and sensitive performance of a Messiah deeply troubled by his looming fate and how it will affect his followers, confident of his calling yet uncertain of his ability to endure the inevitable. His masterful rendition of Gethsemane ("I only want to say") demonstrates this ambivalence clearly, respecting the sensitivity of the situation and of the character, tempered by an underlying resolution to obey God and a commitment to save his followers. This resolution and commitment are apparent in the final scenes, despite the horrors of betrayal, torture and execution.

Schneider's vocal power and control are at once impressive and without evident strain, despite the demands of the role, making for a thoroughly enjoyable performance.

The same couldn't be said for Jamie Pearce's singing in the pivotal role of Judas. He appeared to struggle with pitch and range, especially in earlier scenes. Pearce presented a suitably conflicted character, at times almost sympathetic but, like Jesus, swept up by the tide of inevitability. It was a powerful, convincing performance once his voice settled.

Georgia Brooks as Mary sang the vocal highlights "Everything's Alright" and "I Don't Know How to Love Him" beautifully, matched by a sensitive and well-controlled performance. This can be difficult role in terms of finding the right balance of emotions, and Brooks achieves this balance well.

Other vocal and acting standouts included performances by Andrea Carcassi as Pilate and Phil Elphinstone as Caiaphas. Both were masterful and satisfying in every way, with no ambiguity as to their roles and motivations in the unfolding story. Even their respective physical presences added credibility to their characters.

David Schloeffel's performance as Herod was a clear audience favourite, and well-deserved. It set the tone for the wildly decadent, self-indulgent scenes to follow in the lead up to the climax of the musical.

This divergence in contrasting streams -- the shallow, vicious, mocking world versus the brutality and deep spiritual significance of the trials, betrayals and execution of Jesus -- is a key dramatic device in the emotional impact of the production, and creates a powerful sense of outrage and impotence.

The minor principal roles were well-handled by a predominantly young cast. Paul James was impressive as Simon, as was Daniel Mottau as Peter. Larry Dalton, David McLean and Timothy Oon as the sycophantic priests sang and acted convincingly, and the male and female ensembles were strong, clear and exciting.

I left the theatre feeling simultaneously satisfied, uplifted and troubled by the historical drama, so provocatively thrust before us in the final moments in the lone form of the bloodied body of Christ, forcing us to confront our own beliefs and feelings about this central figure in human history.

Cuchulainn

Cuchulainn's Rating:


When:
16th to 31st October

Where:
Geoffrey McComas Theatre, Scotch College Campus, Hawthorn

Bookings:
Telephone 9639 0096 or available online at www.oscanet.com.au