THEATRE REVIEW: Jesus Christ Superstar

THE rock opera Jesus Christ Superstar may have been written nearly half a century ago but its tunes and themes are certainly timeless.

With lyrics by Tim Rice and music by Andrew Lloyd Webber — it was the duo’s first musical to be produced for the professional stage — the musical follows events from the Last Supper to the crucifixion, with adoration, love, betrayal and despair all evident.

The show at the Octagon, performed by the Splinters Theatre Group on their 30th anniversary and featuring a cast of mainly young people aged 14 to 30, starts with an onscreen message from none other than Lord Lloyd Webber himself — wishing them well with the show and urging them to “bring a bit of magic to the old boy”.

And the screen itself deserves a mention, as it is used very effectively — and sometimes graphically — to complement the on-stage action.

Directed by Ian Walker and featuring existing and previous theatre group members, the show follows the age-old story, told through the eyes of Judas, with a very strong and sympathetic performance by Ross Bannister.

Dan Romano plays the title role and, on the opening night, he gained in confidence as the show went on, with his solo performance in Gethsemane very strong and moving.

Performed mostly in modern dress, the events leading up to the inevitable ending unfold through song.

Jessica Rose Curr, from Wickersley, puts in a strong and moving performance as Mary Magdalene. 

My fellow theatregoer and I both found ourselves close to tears during her rendition of I Don’t Know How to Love Him.

Keith Harriott in the role of the high priest Caiaphas has a beautiful, deep voice and comes over as very menacing.

John Crowther as Simon and Peter Ben Bason as Peter both put in good performances — the duet featuring Peter and Mary is very moving — as does Mark Holmes playing Pilate.

There is, of course, a feeling of inexorability as the story moves to its conclusion.

After the death of Judas and the flogging of Jesus, both featuring very effective backing screens, the show moves to the final scene, with clever lighting on the cross.

All in all, this is a super piece of musical theatre with impressive singing and dancing and credit must go to all the cast as well as the orchestra and choir.

The show may be nearly 50 years old but it wears well and I think that Lord Lloyd Webber would consider that Splinters have, indeed, brought a touch of magic to the old boy.

Splinters Theatre Group at staging the musical at the Octagon in Sheffield until Saturday.