Jesus Christ Superstar - 3.5 out of 5 stars
Therry Theatre
TICKETS: SOLD OUT
Jesus Christ Superstar isn’t a religious story, nor a story about Christ’s suffering or the nature of his divinity but instead treats Jesus as if he were only a man. We aren’t dealing with the actual Jesus (not that we’re ignoring him), but with a conception proposed by two creators of musical theatre: Andrew Lloyd Webber and Tim Rice. Moreso, much like Hamilton is Eliza’s story more than Alexander’s, Jesus Christ Superstar is Judas’ story.
Therry’s Jesus Christ Superstar is brought to us by Ben Todd
(Director), Matthew Rumley (Musical Director), and Rebekah Stonelaitken
(Choreographer). Stonelaitken’s movement pieces are mostly tight and
captivating – the tap number for Herod’s Song is a highlight (even if the
costumes are questionable). Rumley’s work with the cast vocally: developing
and extending ranges, and transposing for those unable to reach desired notes, is
strong; however, there is a rogue guitar in his band that overpowers the others
at times.
In addition to directing, Todd is also credited with set
design: two platforms on either side of the stage that are effectively
multi-use throughout but create sightline issues when in use. The visual design
also incorporates some unique projected elements.
The show opens with a lone guitarist upstage in smoke,
striking the opening notes before Judas’ warnings of disaster start the action.
Daniel Hamilton’s Judas is an honest, concerned, rational
man thrust into an irrational, transcendental situation, and it is this tension
that leads to his downfall. Hamilton portrays this in spades, giving his all by
the end of the production. His reactions as others interact with and worship
Jesus are consistent – small, but noticeable and impactful. It is unfortunate
that much of his opening number, Heaven on Their Minds, is inaudible.
Thankfully, Superstar is much clearer, marking an upward trajectory into
the finale.
While Jesus is the titular character, he is not the
principal character. He is largely reactionary, and yet Nick Munday makes
excellent use of the material, including participating in the larger
choreographed numbers. There are moments where he appears ‘out of place’ within
scenes – unsure if this is deliberate or unintentional. His rendition of Gethsemane
is a highlight, as is his consistent emotional delivery from the flogging scene
onward. His primary costume is appropriately uneventful, allowing him to blend
into ensemble scenes until required. Credit is due for the artistic detail in
his undergarments during the flogging and crucifixion.
The work both Hamilton and Munday put into their characters,
vocal ranges, and presumably the physical demand of the season deserves
recognition.
When we think of JCS’ Mary Magdalene, we often go straight
to Everything’s Alright and I Don’t Know How to Love Him. Bec
Pynor connects with and breathes life not only into these numbers, but also her
other solos, delivering them with simplicity and excellent phrasing. Mary’s
tensions are particularly interesting: Pynor presents her as intuitive and
perceptive toward Judas and the apostles, yet simultaneously bewildered and
conflicted when Jesus returns her affection with respect and genuine love, something
almost unheard of. As the only leading female role in a male-heavy show, Pynor
stands out and delivers.
Chris Coulter’s Caiaphas demonstrates potential, though the
performance currently feels somewhat underdeveloped. During This Jesus Must
Die, his vocals did not appear fully warmed, lessening the authority
required of the role. As High Priest, Caiaphas benefits from an undeniable
sense of command over both the ensemble and the narrative stakes, and this
presence feels inconsistent. A deeper exploration of the character’s motivations
and background would further strengthen the portrayal, particularly for
audiences without prior familiarity with JCS.
While in a supporting role, Parisya Mosel’s Annas is another
highlight of the production. He is clearly heard and understood in each musical
number and establishes himself as the mind behind Caiaphas’ decisions.
Biblically, Annas is Caiaphas’ father-in-law—do with that information what you
will, particularly given Mosel appears significantly younger than Coulter.
Pontius Pilate is the only role with a complete through-line
in JCS, foreseeing Jesus’ crucifixion in a dream before finding himself in that
very situation. Jonathan Knoblauch has much to explore here and delivers a
considered portrayal of a man caught between opposing forces, ultimately
yielding to public demand. Unfortunately, his solo Pilate’s Dream is a
victim of the overpowering band, rendering it nearly inaudible. His standout
moment comes in the flogging scene, where his turmoil as he attempts to save
Jesus is emotionally clear and well conveyed.
The ensemble takes on multiple roles, including lepers,
members of the crowd, and apostles, shifting seamlessly between them with clear
physical and vocal distinction. Together, they cut through the imbalance in
sound, allowing larger numbers such as What’s the Buzz and Hosanna to land
clearly. Their collective energy drives the momentum of these moments, with
strong cohesion in both movement and vocal blend. Particularly in crowd-driven
scenes, they establish the hysteria and devotion that underpin the narrative
stakes, giving weight to Jesus’ influence and Judas’ concerns.
The most significant challenge of the evening is the
imbalance in sound levels. While JCS naturally leans into the “rock”, the
relationship between band and vocals are consistently uneven. The band
frequently overwhelms the performers, obscuring lyrics and narrative clarity in
key moments. At times, the music is not only heard but physically felt through
the auditorium, coming at the expense of the cast’s vocal work.
Other personal challenges include an unclear overarching
vision through creative production choices, occasional jarring or delayed lighting
cues, and conflicting design choices (i.e. the costumes in Herod’s Song;
plastic riot shields alongside spears; modern costumes alongside
period-appropriate pieces). These unfortunately result in a production that
feels uneven. One wonders if a Director’s Note in the program may have
alleviated some of these thoughts.
While Therry’s opening night lands with mixed
results, the onstage talent still justifies the sold-out season. Therry Theatre
should be commended for assembling a cast that showcases some of the strongest
voices in Adelaide community theatre, and for the impressive feat of bringing
together 18 men in a single production.
- Andrew Broadbent
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