November 23, 2010
The story of the final days of Jesus Christ is one of the best known in the world, so Oxford’s Operatic Society should be applauded for successfully breathing new life into a time-worn tale. Producing a memorable performance of a veteran musical is always a difficult task, not least for an amateur company, but in their innovative staging of Jesus Christ Superstar, the OSS has enthusiastically risen to the challenge.
In the hands of the Operatic Society, the Webber-Rise musical has been revised in a refreshingly modern context. There wasn’t a tie-dye garment or scandal in sight, and Jesus even had short hair. The youthful cast were well suited to the contemporary rendering – clad in an array of checked shirts, leggings and converse hi-tops, Jesus’ apostles wouldn’t have been out of place in a student bar. The soldiers were a formidable presence, seemingly having stepped out of the Matrix in a uniform of black trench coats and military boots. Microphone-wielding paparazzi and a temple trader flogging what appeared to be CDs added to the subtle and charming intrusion of modernity.
The stage was exceptionally crowded, although thanks to the slick and well managed choreography, this only added to the dynamism of the performance. Chilina Madon depicted Mary Magdalene with stirring sensitivity, and the purity of her voice allowed for a beautiful rendition of the haunting 'I Don’t Know How to Love Him'. Duncan Blagrove was the real superstar of the night. His acting proved as strong as his singing and he succeeded in the difficult task of evoking Judas Iscariot’s complex emotional turmoil.
Impressive performances by Blagrove and Madon cast the characters of Herod (Alex Williams) and Pontius Pilate (Edward Blagrove) somewhat into the shadow. The production of King Herod’s song was, however, a highlight. The innovative and raunchy staging – which included suspender-clad girls (and boys) - brought welcome relief from otherwise sombre final scenes.
David Staines captured Jesus’s compassion well, and his performance peaked in the dramatic and sensitively rendered crucifixion scene. The leading man’s vocals were wonderfully rich, but during his solos the balance between band and singer needed be addressed. Staines’s voice lacked the clarity of Balgrove’s (Judas) or Madon’s (Mary) and unfortunately his words were drowned out during the more strident musical numbers.
However, in the spirit of the show, forgiveness is plentiful, and the occasional muted vocal did little to detract from an otherwise superb show. Jesus Christ Superstar remains as popular as ever and this enchanting production by the Oxford Operatic Society will help ensure its status as a classic of musical theatre.
In the hands of the Operatic Society, the Webber-Rise musical has been revised in a refreshingly modern context. There wasn’t a tie-dye garment or scandal in sight, and Jesus even had short hair. The youthful cast were well suited to the contemporary rendering – clad in an array of checked shirts, leggings and converse hi-tops, Jesus’ apostles wouldn’t have been out of place in a student bar. The soldiers were a formidable presence, seemingly having stepped out of the Matrix in a uniform of black trench coats and military boots. Microphone-wielding paparazzi and a temple trader flogging what appeared to be CDs added to the subtle and charming intrusion of modernity.
The stage was exceptionally crowded, although thanks to the slick and well managed choreography, this only added to the dynamism of the performance. Chilina Madon depicted Mary Magdalene with stirring sensitivity, and the purity of her voice allowed for a beautiful rendition of the haunting 'I Don’t Know How to Love Him'. Duncan Blagrove was the real superstar of the night. His acting proved as strong as his singing and he succeeded in the difficult task of evoking Judas Iscariot’s complex emotional turmoil.
Impressive performances by Blagrove and Madon cast the characters of Herod (Alex Williams) and Pontius Pilate (Edward Blagrove) somewhat into the shadow. The production of King Herod’s song was, however, a highlight. The innovative and raunchy staging – which included suspender-clad girls (and boys) - brought welcome relief from otherwise sombre final scenes.
David Staines captured Jesus’s compassion well, and his performance peaked in the dramatic and sensitively rendered crucifixion scene. The leading man’s vocals were wonderfully rich, but during his solos the balance between band and singer needed be addressed. Staines’s voice lacked the clarity of Balgrove’s (Judas) or Madon’s (Mary) and unfortunately his words were drowned out during the more strident musical numbers.
However, in the spirit of the show, forgiveness is plentiful, and the occasional muted vocal did little to detract from an otherwise superb show. Jesus Christ Superstar remains as popular as ever and this enchanting production by the Oxford Operatic Society will help ensure its status as a classic of musical theatre.