Jesus Christ Superstar
Sat, 20 Apr 2002, 12:46 amAmanda Chesterton2 posts in thread
Jesus Christ Superstar
Sat, 20 Apr 2002, 12:46 amWHAT: Jesus Christ Superstar
WHO: Playlovers directed by Alex McLennan
WHEN: Friday, 19 April 2002, 8pm
WHERE: Subiaco Theatre Centre
There were three reasons why I was going to hate this show:
- The Subi Theatre Centre stage is the size of a postage stamp and couldnÂ’t possibly do a musical the size of Superstar justice
- I knew about half the cast, including virtually all of the leads, making any suspension of disbelief I had nigh on impossible
- I know JCS as well as Les Mis, which means I canÂ’t listen to a word of it without comparing it to this performer, that production, or passing comment on an interpretation
I loved the bastard.
Tired old hack that I am, going to the theatre is no longer a novel or exciting experience. There is no magic, and I sit there marvelling at swift costume changes or predicting where the next entrance is going to be.
Until tonight.
Under the deft musical direction of Simon Holt (with a bitchinÂ’ band, Mr Bassman) Playlovers have just scored themselves another Finley with this one, with voices and production values that would (and did) make a hardened cynic turn his or her head.
I've said it many times tonight, and I’ll say it again here: I was raised on the 70s Norman Jewison movie of Superstar and never has a performer held a candle to Ted Neely’s Jesus until I saw Paul Whitely take that particular benchmark, piss all over it and raise it a good few feet. He moved (apparently) effortlessly from the lyrical ‘Sing me your songs..’ part of Hosanna to the anger of The Temple scene to the screaming anguish of ‘Gethsemane’. Afficionados of the musical always hang out for this latter song as it is widely considered to be the most difficult in the entire musical theatre repertoire. I could say Paulie wussed out on the ‘All right - see how I’ll die’ bit but while he chose the quieter delivery of these lines, I didn’t think for one moment that it was because he was technically incapable of doing it. He’d proved in the temple scene that he was. Rather this (slightly unorthodox unless you’re Michael Ball and even then he cocked it up and we knew damn well he wasn’t capable of it) interpretation was a challenge to God and for the first time, I was convinced that screaming it until your throat bleeds wasn’t the only interpretive choice available. Holy hell, this chappie’s talented and...yes I’ll confess publicly...he made even this old bitch cry.
Sam Rabbone as Judas was great. He really was quite different to the other perky apostles and, while I admit, it took me a little to warm to him, by the end I was well convinced and his death was genius. Sam proved at that point that he was an actor as much as a singer - and believe me, this boy has a voice from God. I was disappointed that he wasnÂ’t more of a centre-piece in the title song of the show. The focus was more on Jesus being strung up at that point, which was a shame because I would like to have seen Sam let loose with that song, his mike, and his backup chicks.
Gill Binks has a voice like warm honey which was perfectly suited for the part of Mary Magdalene. She also has a natural warmth and stage presence which she exuded through the role. I felt, however, that she was under-cut by the Morticia-like costume. I think I saw what Terry was getting at with that look, but perhaps it could have been softened a little? Apart from looking a bit gothic, she disappeared in the crowd scenes at JesusÂ’ trial as the ensemble was dressed in black also.
The Sex-on-a-Stick award is tied in this production and the winners are: Andrew Baker and Tom Woods as Peter and Simon respectively. I’ve never seen Andrew with the funky spikes before and Tom at the other end of the spectrum with the hippie curls was equally edible. Oh, yeah they sing good too. But seriously, folks, Simon sustained a lovely, dare I say ‘zealous’ character through the entire show, even when part of the chorus (always the first to pick a fight) and Andrew’s reaction to Jesus’ announcement of denial was galling and riveting.
ItÂ’s bloody late, and I donÂ’t want to write a commentary on every single character (you were all marvellous, so please donÂ’t think you were anything less if I donÂ’t mention you) but other notables were: Stuart Laing as Annas (I have a great deal of respect for a man who can go unmiked and still drown out his counterparts - and I understand youÂ’re really a baritone?!) and Jason Seperic as Pilate. Chris Kabay...well what can I say really? The part was written for him - IÂ’ll let Andrew and Tim know that the definitive Herod is living right here in little olÂ’ Perth. The ensemble work was lovely - seamless and beautifully balanced vocally. The choreography was unobtrusive yet still effective without highlighting how good/bad any particular dancers were.
You wanna be moved beyond words? See this show. It has only two more shows left tomorrow, and I donÂ’t know if there are many tickets left, but do your darndest to catch it. IÂ’ve seen JC live about five times - this was far and away the best of the lot, and even better than the swanky MTV-style film version released by the Really Useful Co a couple of years ago.
Good luck to the cast for the final two shows tomorrow - youÂ’ve really got something special there.
[%sig%]
WHO: Playlovers directed by Alex McLennan
WHEN: Friday, 19 April 2002, 8pm
WHERE: Subiaco Theatre Centre
There were three reasons why I was going to hate this show:
- The Subi Theatre Centre stage is the size of a postage stamp and couldnÂ’t possibly do a musical the size of Superstar justice
- I knew about half the cast, including virtually all of the leads, making any suspension of disbelief I had nigh on impossible
- I know JCS as well as Les Mis, which means I canÂ’t listen to a word of it without comparing it to this performer, that production, or passing comment on an interpretation
I loved the bastard.
Tired old hack that I am, going to the theatre is no longer a novel or exciting experience. There is no magic, and I sit there marvelling at swift costume changes or predicting where the next entrance is going to be.
Until tonight.
Under the deft musical direction of Simon Holt (with a bitchinÂ’ band, Mr Bassman) Playlovers have just scored themselves another Finley with this one, with voices and production values that would (and did) make a hardened cynic turn his or her head.
I've said it many times tonight, and I’ll say it again here: I was raised on the 70s Norman Jewison movie of Superstar and never has a performer held a candle to Ted Neely’s Jesus until I saw Paul Whitely take that particular benchmark, piss all over it and raise it a good few feet. He moved (apparently) effortlessly from the lyrical ‘Sing me your songs..’ part of Hosanna to the anger of The Temple scene to the screaming anguish of ‘Gethsemane’. Afficionados of the musical always hang out for this latter song as it is widely considered to be the most difficult in the entire musical theatre repertoire. I could say Paulie wussed out on the ‘All right - see how I’ll die’ bit but while he chose the quieter delivery of these lines, I didn’t think for one moment that it was because he was technically incapable of doing it. He’d proved in the temple scene that he was. Rather this (slightly unorthodox unless you’re Michael Ball and even then he cocked it up and we knew damn well he wasn’t capable of it) interpretation was a challenge to God and for the first time, I was convinced that screaming it until your throat bleeds wasn’t the only interpretive choice available. Holy hell, this chappie’s talented and...yes I’ll confess publicly...he made even this old bitch cry.
Sam Rabbone as Judas was great. He really was quite different to the other perky apostles and, while I admit, it took me a little to warm to him, by the end I was well convinced and his death was genius. Sam proved at that point that he was an actor as much as a singer - and believe me, this boy has a voice from God. I was disappointed that he wasnÂ’t more of a centre-piece in the title song of the show. The focus was more on Jesus being strung up at that point, which was a shame because I would like to have seen Sam let loose with that song, his mike, and his backup chicks.
Gill Binks has a voice like warm honey which was perfectly suited for the part of Mary Magdalene. She also has a natural warmth and stage presence which she exuded through the role. I felt, however, that she was under-cut by the Morticia-like costume. I think I saw what Terry was getting at with that look, but perhaps it could have been softened a little? Apart from looking a bit gothic, she disappeared in the crowd scenes at JesusÂ’ trial as the ensemble was dressed in black also.
The Sex-on-a-Stick award is tied in this production and the winners are: Andrew Baker and Tom Woods as Peter and Simon respectively. I’ve never seen Andrew with the funky spikes before and Tom at the other end of the spectrum with the hippie curls was equally edible. Oh, yeah they sing good too. But seriously, folks, Simon sustained a lovely, dare I say ‘zealous’ character through the entire show, even when part of the chorus (always the first to pick a fight) and Andrew’s reaction to Jesus’ announcement of denial was galling and riveting.
ItÂ’s bloody late, and I donÂ’t want to write a commentary on every single character (you were all marvellous, so please donÂ’t think you were anything less if I donÂ’t mention you) but other notables were: Stuart Laing as Annas (I have a great deal of respect for a man who can go unmiked and still drown out his counterparts - and I understand youÂ’re really a baritone?!) and Jason Seperic as Pilate. Chris Kabay...well what can I say really? The part was written for him - IÂ’ll let Andrew and Tim know that the definitive Herod is living right here in little olÂ’ Perth. The ensemble work was lovely - seamless and beautifully balanced vocally. The choreography was unobtrusive yet still effective without highlighting how good/bad any particular dancers were.
You wanna be moved beyond words? See this show. It has only two more shows left tomorrow, and I donÂ’t know if there are many tickets left, but do your darndest to catch it. IÂ’ve seen JC live about five times - this was far and away the best of the lot, and even better than the swanky MTV-style film version released by the Really Useful Co a couple of years ago.
Good luck to the cast for the final two shows tomorrow - youÂ’ve really got something special there.
[%sig%]