It takes a lot of work, on stage and off, to create a piece of amateur theatre that doesn’t look amateur, and Oxford Operatic Society have perfected it. Their current production of Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar has been gracing the stage of the Oxford Playhouse this week and audiences have been full. Controversial when first performed, Jesus Christ Superstar is now a staple of British theatre with am dram groups across the country attempting to stage this mammoth show, and few succeeding in the way this company have.
Theatre is taking a turn back towards grunge and metal. With stark, industrially styled revivals such as Sunset Boulevard and Next to Normal taking the UK and US by storm, this version of Lloyd Webber's rock opera is no different. A scaffolding climbing frame, with very little else in the way of set, is effective but maybe a tad predictable, something we’ve seen done in various forms over the last decade. What piqued my interest though is the clever lighting design by Ashley Bale. Combine the all-singing, all-dancing lighting scheme with the cold, earthy stage design and you’ve got a hit! My only complaint was the use of video top open and close the show. If video was used throughout I’d have bought into the concept however it wasn’t, and a result it felt clunky.
In her directorial debut with OXOPS, Joanne Cook works wonders with a notoriously tricky show. A large cast demands lots of room on stage and I thought Jo’s use of space was impressive. You could see the work Jo had done during rehearsals to ensure the supporting cast had a clear understanding of what and where they needed to be throughout the show. In opera, flow is key and should be constant but I felt there were some odd breaks as cast were entering and exiting stage which meant energy dropped at vital moments. Choreography from Holly Prangley helped immensely to boost the energy in those low moments. Holly’s work felt fresh, modern and accessible to audience and cast alike.
Guy Grimsley offers us a Jesus steeped in arrogance and pomposity, a take which I struggled to appreciate during the first 5 minutes but, as we settled in, I accepted this grittier version of Christ. Guy’s vocals stun and his melodic choices in 'Gethsemane' maybe aren’t as showy as some but just as impactful. Andy Blagrove gave a slightly reserved Judas in act one but came out, all guns blazing, for a brilliant second act. Hannah Veale gave a standout performance as Mary. Every move and note that came from her was pointed and powerful. For me though, the highlight performances go to Trig Prosser as Caiaphas and Greig McDonald as Pilate. Their vocals were unmatched and both gave their all emotionally and physically to this show: bravo.
I commend the cast and crew for performing to such high standards on one of the warmest nights of the year. It must’ve been a slog to get through 2 hours of drama in 31 degree heat! We also got to experience a rare show stop (well, extra long interval) due to unknown technical issues. The crew kept calm and the show started again with only a handful of mic problems throughout act two, not too bad really!
Was this a groundbreaking adaptation? No. Did I need it to be? Also no. The cast and crew of Oxford Operatic Society always put on a great show, with a many talented local performers, and that’s what keeps me coming back time and time again.