Happy Hallowe'en

 

 

"Sunset Boulevard", King's Theatre, Glasgow, 24/10/15

One of the last of Andrew Lloyd Webber's mega-musicals, "Sunset Boulevard" is based on the classic Billy Wilder film that presents the story of Joe Gillis, struggling screenwriter, who happens upon the mansion of Norma Desmond, 'famed star of yesteryear', who has spent the last twenty years of her life reliving her past glories on celluloid whilst cobbling together a screenplay that will mark her 'return' to the fans who, she believes, have never left her. Gillis soon becomes entrenched in Norma's crazed life and she quickly falls in love with him, whilst her ever-present manservant, Max, looks on passively. The tragedy soon reveals itself, however, as reality starts worming its way into Norma's world and her fragile existence starts to unravel.
Lloyd Webber's score is, appropriately, his most cinematic and contains some well-known numbers including 'With One Look' and 'The Perfect Year'.

The nature of the story presents inherent difficulties in staging the celluloid story and is a challenge for any company. Amateur group Glasgow Light Operatic Club should be praised alone for attempting such a demanding production.
In lesser hands the staging could have been an outright disaster but Alasdair Hawthorn is a more than competent director. It's true that not every sequence comes over successfully and that the exposition becomes a little turgid but, for the most part, the plot and staging is fluid and concise and the demanding transitions are handled appropriately.
The musical direction by David R Dunlop is a bit wanting in some areas; there are some numbers which are performed at a slower rate than appropriate whilst others feel a bit rushed. It is also unfortunate that a score orchestrated with strings replaces them with synthesisers thus rendering the score inappropriately synth and brass-heavy. This also has the effect of dulling some of the musical impact and phrases. That said, the musicians present did a great job with some of David Cullen and Lloyd Webber's most moving work.
Choreographer Antony Carter did a fine job in creating enjoyable dance sequences that never seemed to intrude upon the dramatic action
A lot of amateur companies are also guilty of somewhat neglecting lighting but this cannot be said for this production; here it was a considered aspect and an integral part of the whole, delineating space and mood effectively.

The cast rose to the challenge of "Sunset Boulevard" amiably and were led by Ross Nicol as 'Joe Gillis' and Aileen Johnston as 'Norma Desmond' and both held themselves well. Whilst there may have been a few too many moments of 'armography' for my liking, both Nicol and Johnston have a commanding presence with strong vocals to match and Johnston especially has moments where she surpasses herself, none more so than her triumphant return to Paramount Studios with the number, 'As If We Never Said Goodbye'.
Johnathan Procter's 'Max' stood as a pillar of strength epitomising the power of stillness whilst his vocals appropriately echoed the emotional that lay within. His was a most charming and moving performance. Kirsten MacDonald also has moments as 'Betty Schaefer' where she shines and she has a lovely tone to her voice, if only she let it out more confidently as she was a little reserved at times yet clearly has the pipes for the part; a fact in evidence come her duet with Nicol, 'Too Much In Love To Care', where she soars beautifully.
Also worthy of mention are Greg Reid's naive 'Artie Green' and the 'Manfred' of Iain G Condie who provides a wonderfully delivered number replete with comedy and underlying disdain. Director Hawthorn also makes a brief, uncredited, cameo in the appropriate role of 'Cecil B DeMille' adding a sense of reality to proceedings.

Kudos must be given to a company in taking a risk with such a demanding production but, for the most part, a company that succeeds. It is always important that theatre - at whatever level, amateur or professional - takes risks, embraces danger and offers something new to its audience and GLOC have certainly done that.

"And Then There Were None", Theatre Royal, Glasgow, 19/10/15

Written for Backstage Pass:

http://www.backstagepass.biz/2015/10/theatre-review-and-then-there-were-none.html

Arguably considered Agatha Christie's masterpiece, And Then There Were None remains amongst the most well known of all crime fiction and is Christie's best-selling title. First staged in 1943, and adapted by Christie herself this production has been set in 1939 and has been slightly adapted from Christie's original script by the production company to surprising, positive effect.

The plot revolves around a group of strangers lured as guests to an isolated island where a mysterious voice announces judgement upon them for their apparent past "crimes". What follows is an excellent showcase for the plotting talents of the Queen of Crime as murder follows murder and paranoia blooms among the remaining guests. Of course, trying to work out whodunit is all part of the fun of an Agatha Christie plot and the play offers much for the avid audience member/armchair detective.

The Agatha Christie Theatre Company has been creating fine productions of Christie's plays for the past decade and this is no exception. With assured, confident direction by Joe Harmston, who plays up the humour in Christie's writing, the play is never lax in engaging with its audience. It is true that there are moments when the laughs may be unintentional but the style is, at times, almost tongue in cheek and this is rather welcome in this spirited production where such amusement offers contrast to the sudden shocks that Harmston delivers. He handles the pace of the production easily and uses the space very well, investing the production with deft touches not inherent in Christie's script.

The set design by Simon Scullion is attractive, evocative and well suits the Art Deco period and are a perfect backdrop to the elegant costumes designed by Roberto Surace. The  lighting by Douglas Kuhrt is atmospheric, redolent and subtle as is the sound by Matthew Bugg. The only excess in these departments is the heavy-handed use of Latin chanting at the climax of the play.

"And Then There Were None" is blessed with a strong cast led by the dominant performance of Paul Nicholas whose strength and stillness capture the character of "Sir Lawrence Wargrave" whilst his voice drips authority. Mark Wynter is equally as charismatic as "Doctor Armstrong" and is utterly striking as the flawed professional. Eric Carte, as "General Mackenzie", is another performer whose characterisation is perfectly balanced and whose delivery elevates Christie's text to near-poetry quality at times. Indeed, all the cast deliver the dialogue with ease and imbue the text with a quality that raises it above the sometimes dated language that typifies Christie's writing. Deborah Grant as "Emily Brent" is a prime example; surpassing the potential limitations in the period text effortlessly whilst Kezia Burrows overcomes the language in a more physical manner as "Vera Claythorne". Mark Curry, Colin Buchanan, Ben Nealon, Judith Rae and Jan Knightley all serve the play in an excellent manner whilst Tom McCarron, as "Anthony Marston", succeeds in overcoming the most stilted, archaic vocabulary present in the script, turning it into the most natural expression within the environment created onstage.

The build up of pressure and tension does threaten to enter over-the-top territory before the dénouement and it is here the play could be refined as could the slightly overdrawn ending, but the production is never boring, flat or uneventful and is a considered, consistent, thoroughly enjoying, often thrilling production that will appeal to more than just die-hard Agatha Christie fans.
There is a reason that And Then There Were None is one of the most famous stories in crime fiction and this sumptuous production showcases it well. Discover it for yourself ...

"All My Sons", Glasgow Theatre Royal, 2/9/15

Written for Backstage Pass:

http://www.backstagepass.biz/2015/09/theatre-review-all-my-sons-theatre.html

 

Arthur Miller's first successful play, All My Sons, is presented by Rapture Theatre Company in a production that seems to have something of a curse upon it; not only was leading actor Paul Shelley hospitalised before opening night (though expected to return to the production for the Inverness run), but Trudie Goodwin very nearly followed him after collapsing a third of the way through the second half of the performance. Okay, not quite - but it did seem that the heat within the Theatre Royal was too much for her and her collapse mid-performance prompted a ten-minute delay. But, ever the trooper, and epitomising the maxim, "the show must go on", the performance was resumed with renewed vigour.

Miller's unflinching play, inspired by true events, is the story of a family, already dealing with the absence of one son, who are forced to confront the terrible truth that has been hidden for several years when figures from their past re-enter their lives. Recalling Greek Tragedy with its father-son relationships and the idea of resolution through reckoning, it's a moral play replete with definite opinions and outcomes. The principle of karma is also apparent and the conclusion, although somewhat shocking, is inexorable.

The design by Neil Murray is, on first impressions, a basic clapboard house and its backyard although, upon closer inspection, it appears that one corner of the building is covered with mould and appears to be rotting. It is a rather hollow and empty design which could be said to reflect the state of affairs of the people who dwell within - their lives are something of a façade and one shouldn't look too closely at the details. It could also be said to represent the nature of the production as a whole - unrefined and not quite detailed enough. The lighting by Sergey Jakovsky is serviceable but unexciting and the sound design by Craig Johnston needs more honing and could be more consistent and subtle.

David Tarkenter, understudying the part of Joe Keller, is very good in the role, as is Robert Jack as Chris Keller. Both are able to grasp the basic principles of each character and deliver them in an assured way. As Lydia Lubey, Pauline Turner also holds her own, albeit in a smaller part. Trudie Goodwin is quite excellent as Kate Keller and hers is the most thorough, nuanced and honest characterisation in a company of actors who exhibit moments of great promise but who seem to be restrained by tepid direction and thus are never really able to create thorough character arcs and sustained through-lines leaving the performances a little uneven complete with some laboured dialogue. And whilst the cast, as a whole, are never less than competent there are a number of dodgy accents and moments of stilted acting, although the humour is always delivered with aplomb, and one gets the sense that the actors on-stage are able to give even more than is in evidence if only given the chance.

Michael Emans' direction is somewhat lacking in consistency, often being clunky and stale and he is guilty of some obvious and uninspired handling of the performance space and it's his labours that are the predominant cause of flaccid performances and the creation of a production where energy and pace fluctuate for the most part, although the second act does trundle along with more fluidity than the first.

All in all this is a flawed production containing elements raising it beyond the mundane but it is nevertheless a fair effort of a powerful and demanding play. Should the producers and director revisit the production any time soon they would do well to build upon the successful components already present to create a more thorough and even production.

"Twelve Angry Men", Theatre Royal Glasgow, 22/6/15

Written for Backstage Pass:

http://www.backstagepass.biz/2015/06/theatre-review-twelve-angry-men-theatre.html




     Imagine you are one of a dozen men tasked with the responsibility of whether a young man is executed or not; that his fate relies on the choice you make; guilty or innocent. Now imagine you stand alone in your choice - would you give in to the pressure of your fellow jurors to agree with them or fight for what you believe to be true? This is the basic premise of Reginald Rose's Twelve Angry Men where we see twelve jury members tackle the evidence presented before them, their personal prejudices, and each other to reach a unanimous decision that will seal a sixteen year old boy's fate.

     Most famous as a 1957 feature film starring Henry Fonda, the play began life as a television play presented in 1954 before the first theatrical adaptation was staged. This touring production stars Tom Conti, Andrew Lancel, Gareth David-Lloyd and Robert Duncan amongst a cast who perform Rose's script with aplomb. The piece relies on a strong ensemble and there really isn't a weak link amongst a cast who confidently grasp the audience's attention, building tension throughout the play until the final decision is made. It is a credit to the actors that they are able to make such a wordy play into such a gripping experience. 

 

     Rose's script is more or less tight, though a little slow to start and he peppers the dialogue with many a humorous line and insights into the personal lives of the anonymous jurors. Rose creates characters who feel rounded and complete, despite the small clues we are given, and creates believable tension and conflict amongst them when facts face off against personal impressions and preconceptions. His use of logic in having characters deconstruct and evaluate the evidence and witnesses is strong and he imbues the play with a variety of themes that rear their heads at one point or another; such as consensus-building, standing strong against the odds and the potential outcomes of human error. Ultimately we realise that no justice system is truly perfect.

     Christopher Haydon's direction is quite assured and confident although he has some lines fall flat or presented somewhat clumsily. Haydon utilises the stage throughout; moving his actors about fluidly and expressively and thus avoiding the creation of a static and boring theatrical visual.

A drop displaying the Scales of Justice hides the jury room which is soon revealed contained within a steel girder cube complete with more naturalistic doors and windows and a table upon a slowly moving revolve (which adds to the sense of drama). Michael Pavelka's design is enhanced by the sound and lighting designs of Dan Samson and Mark Howett respectively and the lighting is especially moody and subtle further creating a sense of animation about the unit set.

 

     An intriguing take on a whodunit, Twelve Angry Men offers a chance to have us ask ourselves how we might act in any one of the jurors' place as we bear witness to the struggles and difficulties that such a position offers. And, ultimately, life is created by the choices we make. For ourselves and for others.

"The Woman In Black, Theatre Royal, Glasgow, 20/4/15

Written for Backstage Pass:


http://www.backstagepass.biz/2015/04/theatre-review-woman-in-black-theatre.html

Based on the novel by Susan Hill, in recent years made into a motion picture starring Daniel Radcliffe, The Woman in Black began as a small-budget seasonal affair in Scarborough and has since became a major stalwart of London's West End, where it is still running after 25 years, thanks to its clever use of economical theatrical storytelling techniques.

Stephen Mallatratt's adaptation intelligently condenses the novel's plot and multitudinous characters into a two-hander play which utilises the medium of theatre itself and the imagination of its cast and their audience to succinctly portray the eerie events surrounding Eel Marsh House and the tragic events of its past.

Robin Herford's direction is clean, concise, sharply effective and he is adroit at building up tension whilst interspersing it with occasions of humour. Contrast is a prime element of this production and Herford's use of animated movement is balanced by moments of stillness. Herford is aided by the simple, atmospheric design of Michael Holt and the precise lighting by Kevin Sleep (and associate lighting designer Tony Simpson) which elegantly uses colour upon the textured surfaces of Holt's design to aid the storytelling. Add to this the sound effects designed by Gareth Owen (original sound design by Rod Mead) and assistant sound designer Richard Carter and all the elements for a thrilling instance of drama are present.

The final, key, ingredient is the cast and Malcolm James and Matt Connor are well suited as the story-tellers who have the audience gripped and engaged from the outset. As the play moves along they become further entrenched in the events portrayed drawing the audience deeper into a story that becomes progressively darker. Running the gauntlet of emotional variety is a skill in itself and both actors are expertly equipped to do so in a play which demands no less of a performer.

Epitomising the essence of theatre and its art in the telling of a tale that speaks to the primal fear within us all, The Woman in Black is a surprisingly strong piece of entertainment and, since fear is a powerful emotion that both repels and attracts many a human, it is further proof that we will always be drawn to forms of entertainment that play to the lure of being scared. 

Given that an audience must buy into what is happening before them at all times - that they must 'suspend disbelief' - it is a credit to all involved, on and off-stage, that such a deceptively simple production can be so effective in eliciting such pronounced responses from an audience and, thanks to the immediacy of live theatre, it's no wonder that the stage adaptation of The Woman in Black has become such a success since its premiere all those years ago. Years now lost to the mysterious mists surrounding Eel Marsh House...

"Peter Pan Goes Wrong", Glasgow Theatre Royal, 14/4/15

Written for Backstage Pass


http://www.backstagepass.biz/2015/04/theatre-review-peter-pan-goes-wrong.html


     Following the success of The Play That Goes Wrong, which recently won Best Comedy at the Olivier Awards, Mischief Theatre presents another riotous, anarchic piece of theatrical glee: Presented as a play within a play we see a disorganised theatre group present an ostensibly 'straight' adaptation of J.M. Barrie's "Peter Pan".

Creating a follow-up to The Play That Goes Wrong must have been a truly daunting task but, for the most part, Peter Pan Goes Wrong is as enjoyable as Mischief's original play although it, inevitably, lacks a little of the former's originality and freshness. Peter Pan Goes Wrong does manage, however, to find new variations, built within the plot of Barrie's play, which allow for further explorations of farce and physical comedy including, of course, flying!

     Henry Lewis, Jonathan Sayer and Henry Shields have written a script that manages to keep the essential points of Barrie's original story whilst allowing themselves leeway to orchestrate a production that is appropriately chaotic and shambolic and is in keeping with the "... Goes Wrong" idea of the off-stage shenanigans regularly interrupting the 'play' being presented. Indeed, this piece goes further and references more off-stage happenings than the writers' previous work and they have  stretched the possibilities that lie within the various disciplines that create theatre - lighting, sound, visuals and even text are all potential hazards in live theatre and here what can go wrong does go wrong. The authors even manage to address the idea of "Peter Pan" as a pantomime - something which Barrie disliked - to comedic effect.

Adam Meggido's direction compliments the shoddy, am-dram nightmare of the script although some jokes are drawn out a little too long onstage and some sequences feel a trifle laboured and may benefit from further work. 

     The set design by Simon Scullion recreates the worst kind of amateur performance space with flat, two-dimensional, artwork and clumsy furniture. It is, naturally, a very intelligent, clever design that is based on a revolve which is also used to utmost comedic effect. In fact, there is nothing that is not prone to 'accident' in this production and the costumes, by Roberto Surace, are equally a part of the fun. Matt Haskins' lighting is also excellently used as a comedic element of the play.

     Very much an ensemble piece, the actors perform with such flair and energy that they are able to conjure up a feeling of disorder and turmoil so complete yet are able to remain precise in their timing and physical activity throughout. The whole company is strong and vary from the more outgoing “Robert Grove” of Cornelius Booth to the quieter, down-trodden “Max Bennett” of Matt Cavendish. Leonie Hill’s Beyonce-wannabe “Sandra Wilkinson” is a physical spectacle as is Naomi Sheldon’s “Annie Twilloil” who is cursed with several costume quick-changes, whilst Laurence Pears’ “Chris Bean” is a demanding creation who interacts well with the audience and ad-libs with confidence. Once again Mischief Theatre play with the types of character who are drawn to performing and many a type is recognisable to anyone who has been a member of an amateur performing group.

     Whilst not as original as The Play That Goes Wrong Mischief Theatre have created another hilarious, energetic, physical farce in Peter Pan Goes Wrong which is a testament to the talents and creativity of all involved in its production. 

"Jesus Christ Superstar", Edinburgh Playhouse, 9/4/15

One of the problems with a production of a musical (or a play) that is more than 40 years old is that it is always at risk of falling into clichés that have become associated with previous productions or, as is the case with "Jesus Christ Superstar", the various filmed versions. It was thus a surprise to witness a production that clearly tries to do a little more than the obvious with such a well-known show, albeit to varying success.




The first thing to strike you about this production is the monolithic set by Paul Farnsworth which is dominated by several huge pillars reminiscent of Byzantium design and a mammoth back wall in which are two huge doors of similar design. A three-sided catwalk and movable steps make up the remainder of the set which surrounds a central playing area. A steel 'crown' hovers over the action, moving though-out the events of the musical.
Impressive as all this is I do wonder why the pillars were so heavily bas-relieved since most other design elements are more abstract. That said the shadows they produce under the lighting are stunning.
The lighting by Nick Richings is sympathetic to the production. It is moody, atmospheric, precise and creates some wonderful moments onstage, including being used for some excellent transitions (the title of this blog indicates such a use) such as that between "Judas' Death" and the "Trial By Pilate".
Costumes (apparently by Farnsworth) are standard Biblical-like affair and stand up as a little uninspired compared to the rest of the design elements.




The musical direction by Bob Broad is assured, confident and varied. Whilst the orchestra (or rather, band) has been reduced to seven players but the orchestra has evidently been augmented with click-tracks which enable the sound produced to be of a larger, more epic scale than most productions of the last twenty years - there is even some (pre-recorded) strings in evidence. As good a sound as this makes I do wish that full-size orchestras were the norm today as once they were. But the live musicians are really excellent and perform flawlessly, investing the score with energy and a zip that has been missing in most recent productions (especially the Arena tour of several years ago).
The sound design by Dan Samson also aids in creating the sense of grandness present within the show and is used to excellent use in creating a soundscape that is thrilling and deep, be it the vocals/dialogue that comes from all around the audience or the threatening, dangerous sounds of the whip-cracks which are the most unpleasant I've heard. The "Crucifixion" is also made all the more unsettling by Samson's design which has every hammer-fall, laugh and breath echo throughout the auditorium.


Bob Tomson and Bill Kenwright's direction is solid and tends to avoid the more bland staging ideas that can trouble some other Kenwright productions; something as simple as having the Last Supper staged on a slight diagonal, rather than straight on, creates a more interesting, dynamic, shape to proceedings and avoiding the over-used Superstar cliché of staging it as a visual copy of Da Vinci's painting is also a *ahem* blessing (pun intended). Throughout it seems simplicity is the key and this works to promote the strength of the score. It does take, however a good ten minutes or so for the show to really kick in to gear; despite staging the" Overture" (common these days) with "Jesus" recruiting his Apostles and also hinting at the friction between the Romans and the natives, "Heaven On Their Minds" is treated with typical "Superstar" staging with "Judas" moving in and around "Jesus" and his followers, although the over-used hand-clapping usually featured in the 7/8 musical section is, thankfully , not present and the first real indicator that this isn't just a paint-by-numbers production. "What's The Buzz" is a little limp vocally and the staging of "Everything's Alright" is also a little pedestrian.
"This Jesus Must Die" is when the show really steps up both staging-wise and vocally and it's from here that the show, more or less, moves along at a steady, energetic, pace. Throughout they pepper the staging with moments that prove that more than the usual thought, for the most part, has gone into the direction of this show; such as "Jesus" shouting at "Caiaphas" to "Get Out!" rather than the usual crowds within the "Temple" sequence is one: The resulting stare-off between the two is another and it's only until the "High Priest" reluctantly leaves that "Jesus" continues with his sombre reflections. Such choices in direction add a more psychological element to proceedings since, for example, they are able to make the audience question what "Caiaphas'" true motivations in wanting rid of "Jesus" are: "Jesus" evidently has a power over "Caiaphas" that the latter is unsettled by, whilst "Jesus" is more evidently angered by the authority figures here.
The staging of "Herod's Song" also varies from the more usual over-the-top camp of most and is here staged within what appears to be a Roman bath-house where "Herod" is less outrageous as outraged (despite his nipple-tassels) and his bath-robed dancers are clearly there under duress and thus take it out upon "Jesus" who is passed around them and subtly beaten by them by the occasional high-kick or the like.
One of their biggest success was in the "Crucifixion" sequence which was amongst the most drawn-out and disquieting (all in a good way) that I've witnessed. It's clear the score has been reworked here but it is to the benefit of the scene where nothing is rushed and the agony of "Jesus" is more than evident making the jesting of the soldiers a starker contrast than is usual. Here is the perfect combination of score, sound, design, lighting and acting and a most unsettling highlight.
Given the size of the set and the staging of some scenes it's a shame that there are not more members of the cast since in certain scenes the stage looks somewhat empty, especially during "The Temple" (where little really happens) and the "Trial By Pilate" sequence.
Carole Todd's choreography may not be the most innovative but it certainly varies from typical "Superstar" fare and is, at times, surprising, funny and energetic and adds a further energetic element to a generally powerful production.


And so to the cast:
Present in almost every scene, Tim Rogers' "Judas" is a vocally rough-edged Roger Daltry sound-a-like and he moves around with intention. Whilst he may not attempt some of the higher notes Rogers' is a satisfying performance and his "Judas' Death" is tragically unsettling and emotional.
As "Jesus" Glenn Carter, who played the role on Broadway and in the 2000 film version, establishes himself better than is evident in the film; here he is more subtle, even if he does fall back to playing the same pace and moves that featured in that film. Whether the directors left him to his own devices or felt them to be more appropriate is debatable but it would have been nice to see even more variety within the portrayal of "Jesus" since he is all too often walking around in a ponderous, intentional way. Never is this "Jesus" as carefree as he really could be at times. That said, whilst Carter may not be a favourite "Jesus" of mine he did impress me more than I expected and his vocals were, despite his thin sound, stronger than as evidenced in his film portrayal. Indeed, Carter was stirring in the "Gethsemane" scene (far subtler than his film performance), which closes the first act, and sublime and tortured in the "Crucifixion" and he makes for a physically impressive figure.
Rachel Adedeji was rather a disappointment as "Mary" since she was rather one dimensional in her portrayal. Given to simply moving from one place to the next with little intention even her vocals were a bit of a let down. Only in a few moments in "I Don't Know How To Love Him" and "Could We Start Again, Please" did she really shine, and these when she allow her voice to let rip. For the most part her vocal performance is high, breathy and stunted which serves no purpose in such an important role. Indeed I've never found falsetto singing to be satisfying for the role of "Mary" and it's only when this is abandoned by Adedeji that she shows an inkling of what she could have done with the part.
Tom Gilling's "Herod" was a more thorough interpretation than most, yet still humorous. He gleaned a subtle psychopathic streak from his few minutes in the role which contrasted against the more obvious fun aspect of the song and this is another welcome variation from the norm that this production is blessed with.
The "Apostles" and the "Apostles' Women" are all blessed with good voices (indeed all the males are named in this production) and they create a rather attractive and youthful group, injecting each performance with zest. Edward Handoll's Peter has a lovely voice and becomes suitably pained following his betrayal whilst Kristofer Harding's "Simon Zealotes" number is another highlight and full of verve from all involved including Harding whose vocals are amongst the strongest of the entire company. I was also a bit surprised to find that "Maid By The Fire" has been re-christened "Maid By The River" in this production especially as there is no river present. True, there is also no fire present (at least at that particular moment) so the change of title is a rather pointless one.
I wish I could say that Rhydian Roberts' "Pilate" was also another strong element but sadly he was "indisposed" (once again) and so I witnessed his more than adequate understudy, Johnathan Tweedie, who lent the role an air of dignity with a strong voice to match. During the "Trial" he became suitably more and more unravelled until his final outburst.
The "Priests" led by the "Annas" of Alistair Lee were of powerful, threatening voice whilst Cavin Cornwall's "Caiaphas" was the true star of the show for me. Cornwall's deep vocals were powerful and rich and equally matched by his deliberate, controlled movements. His lithe, tall figure gave the part an added sense of menace and his subtle touches upon "Judas" in "Blood Money" were disturbing: One almost felt that that simple touch upon the head of a kneeling "Judas" from a towering "Caiaphas" was an echo of the thought that, to put it crudely, "Judas" was now "Caiaphas'" bitch. Cornwall's performance was one of controlled power and, together with his strong vocals, created a character vastly different to his portrayal of "Peter" in the 2000 film of "Jesus Christ Superstar" and probably the best "Caiaphas" I've seen.


A surprisingly strong production for the most part and one that surpassed all my expectations. The stronger elements certainly outshine the weaker and make the whole far stronger than most productions of "Jesus Christ Superstar" in recent times. It is an infinitely better production than the muddled Arena tour of only a few years ago.


I thought I'd also mention the lovely coda/curtain call at the end of the show: Following the emotional events of "John 19:41" the orchestra begins a sombre version of "Hosanna" and the cast slowly re-emerge onstage before the "Superstar" refrain rings out triumphantly and the bows start proper. Given that the audience seemed reluctant to commence the typical clapping following the end of the show (no doubt caused by the fact that many an audience member is rendered somewhat stunned by the end) this gentle, yet sad, musical piece is very appropriate to slowly reintroduce an energy appropriate to a curtain call since the suddenness of moving from "John 19:41" to sprightly bows is often a jarring one.