Tag: jesus christ superstar

Some Reasons Why I Enjoyed Jesus Christ Superstar at The Wharf

One reason why I enjoyed Jesus Christ Superstar at Devizes Wharf Theatre yesterday evening, is similar to why I like sci-fi and fantasy genres.

No, hear me out, long winded it maybe, but there’s a point! With sci-fi you can take an earth-bound concept, and moving it from its usual perimeters, see it for what it truly is, without being predetermined via propaganda or personal opinion. Example; racism. Take a green coloured race of aliens fighting with a blue race, and from outside looking in you can see how completely meaningless and rash it is.

Jesus Christ Superstar throws out preconceptions of this renowned Easter story, bought about by biblical re-enactments and more commonly accepted adaptions. In essence, it’s a rock opera, opera is tragedy, and rock music is modernised, least it was when Tim Rice and Andrew Llyod Webber created it.

I often wonder what it was like for Michael Jackson, in the limo to the show, mobbed by obsessive devotees throwing themselves unashamedly at him. In a way, the tragic desolation and isolation of fame is more the subject in question, rather than the biblical Easter story. Just like our sci-fi scenario, it never suggests a religious connection, never states definitively that Jesus is the son of God. It takes the story out of the usual context and reconnects the dots.

The set is deliberately void, mostly of black backdrop, and props are minimal. Rather than a school play’s amateurishly painted scene, the darkness leaves the setting to your imagination. While Nazareth and Rome are mentioned, there’s no depiction of it. The concentration is flowed into the characters and music. For Jesus here is unlike another representation; in fact, I’d argue Brian from Monty Python’s “Life of” is closer! Played convincingly by Jordan Overton, if this was intentional, I found Jesus actually quite irritating. Far from blasphemous given the circumstances, for here he’s unforgiving, frustrated at the mounting iconic hysteria surrounding him. Probably more likely how it would be, especially in the modern era.

If Jordan made a grand job of it, more so did the surrounding characters, for Judas is Jerry if Jesus is Tom, the tension between the two the narrative. Arguably Peter Assirati’s performance is passionately executed greater, the focus on his despair is equal pegging, as Judas feels overexposure will be Jesus’s ruin. Like washed up rock stars or actors in the modern era, we know from tragedies like Marylin Monroe, to Whitney and Kurt Cobain, the feeling is real. In a way then, the lines between protagonist and antagonist are blurred, another reason why I liked this piece of musical theatre.

More general is the third reason; the Wharf is such a splendid asset to Devizes. This historic shoebox theatre central to town is so welcoming, if the doormat was curled at the edge staff would lie over it so you don’t trip. Chat in the auditorium is not of condescending theatre-goers and thespians, rather an almost family ambience with an age demographic to match. As with most venues, lockdown flogged this theatre, kicking it while it was down. Those who can, bearing in mind ticket stubs here are far more reasonably priced than city playhouses, are dutybound to help it to its feet. I witnessed said devotion firmly in place already, as Jesus Christ Superstar plays to a full house.

The fourth reason I enjoyed it is simply the surprise element. I went in critical, didn’t expect to actually like it, given the theme tune’s school playground variant of yore, set to ridicule it with Yamahas and dustbin lids, was wedged in my mind. Anyone younger will have to ask Alexa about this; I’ve exposed my age enough already!

I tip my hat to the performances of additional characters, Pete Winterton casted perfectly for the seventies-fashioned game show host version of Herod, breathing one humorous element to the tragedy, at least! Francis Holmes as Caiaphas made for the textbook managerial role and convincingly bellowed his solo with professionalism.

Emma Holmes and Chris Smith’s recitals of Simon and Peter, respectively, being especially poignant. None so much though as Mary Magdalene, played by Cassy Swann, who, with her astute expressions of woe and loyalty, her superior voice commanded the stage above all else. In this, full credit has also to be awarded to Victoria Warren, music director, and the band, Jennifer Cardno, Bob Ball, Claire Borovac and John Joy, for limited to a four-piece, amalgamated the show to epic and euphoric proportions.

You should note, if you go see this, at the time, amidst the hullabaloo surrounding its controversial subject, it took the best part of decade to alter from rock opera album to the stage in London, and only because of its success in the USA. True music fans will recognise this more as an album of music than a play, ergo the dynamics of elaborate stage effects are deliberately stripped back, the opening of Jesus Christ Superstar rightfully displays the band playing the overture prior to actors taking their stance. But go see it you should; decide quick and seize a ticket post haste. It’s only running at the Wharf Theatre until this Saturday, the 18th September, and last time I checked, tickets are up for grabs weekdays, Saturday is sold out.

Please buy our compilation album of local music, all proceeds go to Julia’s House, thank you!
WIN 2 tickets to Gary in Punderland @ Devizes Corn Exchange by clicking on the poster!

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Jesus Christ Superstar at The Wharf

With Jesus Christ Superstar coming to Devizes’ Wharf Theatre, I’m pondering, just how outrageous was it at the time, and how has adaptations and satires of biblical stories become more acceptable?  

So yeah, from what I remember, knee-high to a puppy at the time, he came down from heaven on a Yamaha, pulled a skid, killed a kid, trapped his balls in a dustbin lid.

Other rhymes circulated school playgrounds nationwide, but all the variations of the Jesus Christ Superstar theme were considered on the topper-most level of naughtiness, most likely because we figured it lampooned Jesus. When in all actual fact, above the tittering of school children, had the damage not already been done by the very thing we were parodying?

In a competitive era when the concept album had come of age, so rock musicals and rock opera were becoming fashionable, one had to raise the controversy bar in order to get noticed. With Joseph and the Amazing Technicolor Dreamcoat already under their belts and bugging religious zealots, Andrew Lloyd Webber and Tim Rice knew blasphemy long before Madge frolicked with an ethnic Jesus in Like a Prayer.

Cover story was, by twisting the Easter story into modern terminology and themes, it reached out to a new generation, but many didn’t see it that way. Banned briefly by the BBC for being sacrilegious, Christian and Jewish orders despised the album alike, and the musical was banned in South Africa and Hungary.

Such was the narrative, focussing on Judas rather than Jesus, his fears the compassionate movement had become a cult, Jesus’s declarations being besmirched by his followers, and this was a dangerous game which would attract the attention of the Romans, not forgoing it was condoning the common assumption Mary Magdalene was a prostitute, it might seem an unusual choice for the Wharf Theatre in Devizes. Yet, if anything, the degrading in offensiveness of Jesus Christ Superstar, is symbolic of how far we’ve progressed and become more accepting towards biblical adaptations and ret-cons.

After all Monty Python’s Life of Brian was only eight short years away, and today we live in a world where Homer Simpson prays for doughnuts, Trey Parker and Matt Stone depict Jesus in a boxing match with Satan or else hosting a call-in chat show called “Jesus and Pals,” and even locally where The Boot Hill All Stars sing a song about a “tiny Jesus” crucified on a hot cross bun!

For extreme retroactive continuity of the character of Judas, though, I’d highly recommend the self-published series by author Roy Bright, whereby, punished by God with immortality and banished to Earth, Judas rights his wrong by becoming a super-heroic, Hollywood-fashioned action hero!

Still, the revival of the controversial musical is trending, which through the aforementioned hullabaloo, took best part of decade to alter from rock opera album to the stage in London, and only because of its success in the USA. A new production was staged at the Stratford Shakespeare Festival, in Ontario, in 2011, and by the 45th anniversary of its run, on Broadway, it returned to London at Regent’s Park Open Air Theatre.

Whether you were intrigued or outraged at the time, or if like me, too young to form an opinion further than the amusing notion of Jesus’s nad-sack caught in a dustbin lid, to see it now might cast a different perspective on the synopsis than how it was perceived at the time, and you can do exactly that, a stone throw away.

A rescheduled performance from last year, The Really Useful Group Ltd presents Jesus Christ Superstar at Devizes Wharf Theatre from Friday 10th to Saturday 18th September. The strapline runs, Jesus must be stopped….  which is tricky to say the least, I mean, on a Yamaha and all!

It will, at last, be open to a full house, after restrictions have reduced capacity of our lovely theatre, and Devizine wishes it well. “It has been a long hard wait,” expresses publicity manager Karen, “as we were due to stage this just days after the first lockdown was announced.” And further to this, plans are ahead for the Christmas panto, Dick Whittington, with auditions on Wednesday next week, 18th August.

The box office is also open for the adaption of The Navy Lark, a classic radio comedy which originally featured Leslie Phillips, Dennis Price, Ronnie Barker and Jon Pertwee, on 2nd October, and Just Like That! The Tommy Cooper Show on the 16th.

The end of October sees an hilarious farce play, based on the true story of Florence Foster Jenkins, dubbed ‘the worst singer in the world’ in 1940s New York, running from 25th to the 30th of October, and a one-off on the 16th November, Dan Clews portrays Paul Simon in The Paul Simon Story.

Wharf Theatre

Tickets can be purchased by ringing 03336 663 366; from the website Wharftheatre.co.uk and at the Devizes Community Hub and Library on Sheep Street.

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