image source: buzzmag.co.uk |
This modern retelling of the Andrew Lloyd
Webber masterpiece was a visually and musically spectacular…in the main. The
opening scene including police with riot shields forcing back protesters sets
the tone for the show. The latest reincarnation is set against the back drop of
current political, financial and humanitarian crisis. The show references the Occupy movement, the GFC, European austerity and riots, and African famine. I wonder if Lord Webber ever envisaged any
staging Superstar would ever include
pole dancers and go-go boys?
The set is a large staircase and even
larger video screen. The screen is by and large used masterfully to extend the
stage or compliment the on stage performances. The flogging scene is a perfect
case in point (without any spoilers), the screen adds a powerful representation
of the pain and gore.
There were occasional scenes when the video
screen over powered or detracted from the on stage performances. In the
nightclub scene the live performance was rendered almost redundant.
This is an arena performance, this means
the audience are a long way from the stage. In such a dramatic story the facial
expressions of the cast is critical to the story telling, in many cases this
could only be shown on the big screen. For me it did leave me pondering why I
was charged $95 to see a film. Having said that there were times when the
onstage camera worked created visual effects and angles that added to the drama
- the scene where Judas was paid to betray Jesus for example.
Talking about the size of the production. I
have to say that the first half of the show the ensemble pieces felt more like
a high school rock’n’roll eisteddfod piece. The cast just seemed lost on stage
and their dancing seemed to be trying too hard to be edgy and tough. Glee is
not tough no matter how many skateboards of hip-hop styled back spins there
are. After intermission this all changed when the ensemble formed into a
variety of mobs. They were much more together and much more powerful.
image source: perthnow.com.au |
Talking of eisteddfods, Mel C as Mary. Her
singing was pitch perfect and lovely. And that was the problem. It was lovely.
Mary is a character full of love, passion and devotion. Mel C sang like a 15
year old who has never felt any of these emotions. If I was a reality TV judge
I would not have turned my seat around. There was not depth or soul. My comment
would have been “I just did not believe the words you were singing.”
The other
lead characters, wow. Tim Minchin…Oh. My. God! Ironic for a famed atheist
playing the role of Judas, but the man can sing and act. Is it not enough that
he is one of the world’s biggest musical comedians and a composer of a Tony
Award nominated Olivier Award winning musical?
image source: thestage.co.uk |
Ben Forster as Jesus became more and more
powerful as the story unfolded both vocally and acting. Forster’s portrayal in the
arrest trial and crucifixion scenes is mesmerising. I have to say that a falsetto squeal does not
an anguished heart wrenching scream make. Please take you cue from Mr Minchin’s
reprise of “Don’t Know How To Love Him”.
That is how to hit a high not with power and grit.
Leon Craig as stand-in for the role of
Herod stole the show with a camp reality television/game-show host cameo.