On Tuesday evening, the second night of the run, we were very privileged to be part of the audience at the Nomad theatre which presented Jesus Christ Super Star. To even consider presenting this piece is brave because it is so very well known. To proceed toperformance was outstandingly brave. But the intention was wonderfully rewarded in performance. This production was a phenomenal achievement especially for a relatively small, amateur company. From the opening moment, the energy one associates with this show came bursting through. The swirling opening section revealed a modern dress production with some costuming of the priests and Pharisees in slightly tudor dress and for the“rulers’” showed “third reich” influences with leather much in evidence. Judas too was highlighted in black leather and later, red leather. It was a clever ploy as it kept the focus on the storytellers. At the same time, the stage was filled much of the time by muted colour and light-reflecting fabric. The visual effect was most enjoyable and effective.
The set, always a strong point at the Nomads, was stunningly simple, allowing for maximum use of the stage space. The slightly stark design too was very exciting and served to give the whole stage a modernist feel. The single set of steps was cleverly transformed into a platform for Judas’ hanging and the central staircase to Pilate’s house. It is worth mentioning at this point that the stage crew were wonderfully professional and the blocking allowed for them to move and remove the few pieces of set as required. The revolve, of course helped. With the chorus or groups of cast members carefully placed, the revolve took away Pilate’s bed, and later brought on Herod’s chaise long with seamless and almost silent precision. Real professionalism on all fronts here.
The lighting design was exciting and wonderfully evocative. Combined with the liberal use of smoke, the mystical and spiritual content was perfectly expressed. The very pale cream set took the colour
from the lighting of course, and seemed to change in proportion from time to time. There was a moment when Christ lay sprawled on the steps at the feet of Pilate which was strongly reminiscent of Sutherland’s
painting in Chichester Cathedral. (I happened to see it two weeks ago, so the image is still strong in my memory.) It too has a pink wash as did the lighting at that point.
The only slightly disturbing aspect of the lighting was that the sharp edged spots did not always illuminate the players even when the lights crossed. Perhaps the actors were not always aware of the need to“walk into the spot.” After all, there was a lot going on and a great deal to be thinking of. Quite apart from anything else, this is a small stage so you have tokeep your wits about you when moving around. At various times, room had to be made for the safe opening of the traps. Incidentally it was great to see the two balconies so effectively used.
Musically speaking, this is a nightmare of a score. Its constantly changing rhythms, key changes and ‘acappella’ entries are a challenge in anybody’s singing career, but to relatively untrained voices the challenge is immense. Quite apart from the “normal” singing there is the frequent use of falsetto, which is a huge step beyond your average “sing along.” The musicians and singers deserve unreserved congratulations on a a job very well done. There were small moments where tuning was a little adrift, but it hardly mattered and did not affect the quality of performance at all. Steven Geraghty, Mike Brazier and Charles Mon Heros deserve our wholehearted congratulations. My only slight criticism would be that there were times, especially at the beginning, where the volume of the music tended to swamp thesinging. However, the energy of the music was both exciting and true to the genre.
In such a piece of collaborative and group commitment, it seems ridiculous to comment on individual performances and it is my instinct not to. However, I sense that that would be disappointing, so I will attempt to do justice to the soloists. Firstly, the opening “salvo” from Judas was appropriately electrifying, indeed Chris Poplett sustained the role with amazing physical and vocal energy. Steven McVicar (Ciaaiphas) has wonderful diction and suitable menacing bass register, while Daniel Burns as Annas proved himself a gifted counter tenor, who slipped in and out of the upper register with consummate ease. Georgina Clifton created a really beautiful and poignantly expressed Mary Magdalene. Christian Solokov’s Simon was strong, committed and convincing while Peter, played by Matt Howes, managed to gain our disgust and sympathy all atonce. The priests, Peter Hart, Arnold Pindar and Ricky Powell, made a very cohesive ensemble, while the disciples Luke Sparling, Eric Strange, Stuart Tomkins, Luke Tye and Paul Fair made effective useof their smaller but important solo roles.
The role of Pilate (Jay Joel) demands a flexibility of characterisation. This Jay Joel achieved absolutely. “Pilate’s Dream” was beautifully sustained and proved a strong contrast to the later, more assertive and aggressive characterisation. The role of Herod, was wonderfully expressed by Emile Maurice-Toussaint. This is one of my very favourite sections of the piece and it did not disappoint.
This leaves us with the chorus/ensemble. Without them the show would have been empty as would the stage. Jordan Farrell is to be congratulated for his clever choreography which managed to keep the stage interesting to watch at every moment. The dancers were all a pleasure to watch and the Rock Girls were terrific.
No comment on the show would be complete without a reference to Jesus as played by Nathan Farrell. This was an awesome undertaking by any standards. Not only had it been performed to huge acclaim in both stage and film productions, itself a massive stress, but the role as is, is demanding in the extreme. Jesus is required to show his soft, caring side without appearing wimpish, he must declare his anger without seeming uncaring and above all he must show enormous strength of purpose without ever seeming to be less or more than human. A huge “ask” then, but Nathan gave us an exemplary bit of beautifully considered characterisation whilealso coping with a pretty difficult vocal role. Well done, Nathan.
Quite apart from grateful thanks to all those who contributed, whose names I have not had the space to be included, I feel the director, Stephen Whittock deserves particular praise, not just for his courage in choosing to direct this piece but to have the vision and imagination to make this an uniquely Nomads production. I first saw this show as a film and I was entirely bowled over. I was also bowled over by this
production. Quite an accolade I feel. Thank you again Nomads.
Polly.
