This iconic show is a very challenging one to tackle. In the superbly equipped Nomad theatre every part of the stage was used to fullest effect. A revolve and trap doors are available to few amateur companies and good use was made by the creative and experienced director Stephen Whittock of the effectively designed set and the auditorium itself for entrances and exits.
A young and energetic company reinforced by several older members carried out the exciting and demanding choreography of the teenage Jordan Farrell with enthusiasm and panache. Jordan was on stage himself and his own movement was extremely polished. The Farrell family are quite special as elder brother Nathan in the title role of Jesus dominated the stage His range of emotions during the tumultuous last week of Christ’s life were of a high order indeed. Moreover he really looked the archetypal Jesus. However, once or twice his tuning was a little unsure whilst striving for the utmost emotion in his singing.
Chris Poplett played the other leading role of Judas with suitable bewilderment, angst and vulnerability. This too, was a most impressive portrayal of this pathetic character. His re-entrance from below in red leather at the show ending was an excellent idea and very effective.
Georgina Clifton was a marvellous Mary Magdalene, her constant devotion to Jesus being particularly moving in the song “I don’t know how to love Him”. She had the best singing voice in the company and her serenity was very moving.
Another fine voice belonged to Jay Joel as Pilate, first appearing on his bed to sing “Pilate’s Dream”. Though his programme CV said next to nothing, I gained the impression that he was very used to the stage.
The important part of Herod was played by Emile Maurice-Toussaint, he was another with a fine voice and a good stage presence.
Daniel Burns played the creepy, cruel Annas to perfection, involved as he was in many of the scenes, his presence and voice was very notable.
Another real talent was Christian Solokov as the apostle Simon, being always convincing. Matt Howes as Peter is yet another young actor with real acting ability, his denial of Christ showing real fear and guilt. He was an energetic dancer too, as was Luke Sparling, another disciple. Apart from the choreographer Jordan Farrell, Luke was the best male dancer on view. Other disciples who contributed well were Eric Strange, Stuart Tomkins, Luke Tye and Paul Fair. Other disciples were not named in the programme.
Steven McVicar, playing Caiaphas showed his sonorous rich baritone voice in several songs, most notably in “This Jesus must Die”, when singing beside the other three priests, Peter Hart, Arnold Pindar and Ricky Powell, all of whom added substance to the sound and (sorry chaps) a maturity in years in contrast to the many lithe dancers and rock girls. The glamourous, slim rock girls all danced the rather demanding steps and moves initiated by Jordan and should be very proud of how they performed, particularly the charleston steps in King Herod’s song. The rock girls were Laura Grant, Rachel Ball, Lucy Conway, Louise Nancarrow, Lorraine Nuthall, Julia Mackay, Ces Scott and Anna Stinton.
Other disciples, ensemble and heavenly choir singers backing up this scintillating show were Oliver Forsyth, Helen Ball, Lisa Arnold, Annabel Farrell, Elaine Burns, Sarah Roberts, Moyra Brookes, Alex Kucharski and Nicole Perrier-Doe.
The band, hidden from sight was always supportive of the singers whilst never drowning them, as so often happens in amateur theatre. The music is so important in this particular show as to make or break it. I may say that I have seen other JCS’s in far bigger theatres where the music has overwhelmed the company. Take a bow thenStephen Geraghty, your volume and tempi were just right.
Nomads have their own costume store and made full use of the various costumes demanded from 1970s going back nearly 2000 years (not the actual costumes I trust!!). Louise Nancarrow, Chris Nancarrow and Jenny Hasted were in charge of wardrobe and I envy their costume store.
This show was very well lit in the main with contrast particularly in the sombre scenes. However, I would have preferred a little more brightness in the opening scene and in “Hosanna” for Christ’s arrival on Palm Sunday. The crucifixion scene was superb with graphic use of makeup. Christ’s agony on the cross and sound and lighting effects were extremely effective. The dragging of the cross and the nailing were almost too painful to watch. But transfixed we were!
I have rightly praised this well disciplined company for their talents, amazing energy and, crucially being able to reflect vocally the wonderful mood changes, so cleverly entwined by the legendary authors of this show.
The highly creative director, Stephen Whittock, aided by the imaginative choreography of Jordan Farrell used this magnificent theatre to its very utmost, The staging throughout was superb, being pacy, varied and innovative. The clever yet uncomplicated set design with its movable stairs, balcony and various exits deserved to be credited in your programme. May I assume that this was the brainchild of the director - someone is being very modest!
I must commend the programme with its interesting and comprehensive CVs, but once again I was disappointed by the absence of NODA information and crest which unfortunately debars me from considering it for a NODA programme award. This is a great pity, particularly so in view of the consistently warm welcome Sue and I are always accorded by the friendly Nomads Company - committee please note.
We were treated to a comprehensive and most enjoyable backstage tour and as ever the warmest of welcomes. Overall, the afternoon was among the most enjoyable I’ve spent as a NODA reviewer. The Nomads under their very special production team did themselves proud and I congratulate you all.
