The towering force at the production's core is Jon Stevens who has significantly developed the theatricality of his
previous creation of the role of Judas.
Playwrights: Andrew Lloyd Webber and Tim Rice
Director: Richard Wherrett
Cast: Jon Stevens, Deni Hines, Darryl Lovegrove, George Henare, Frankie Stevens, Noel Ferrier
Venue: Concert Hall, The Arts Centre
Synopsis: The power play, romance and ultimate execution of Jesus
Rating: Four and a half stars
Just about everyone knows something about Jesus Christ Superstar - maybe you don't think you need to see yet another production. But believe me, you do.
This version is a magnificent achievement which shoots every department - acting, singing, lighting, costumes and direction - through a prism of excellence.
The towering force at the production's core is Jon Stevens who has significantly developed the theatricality of his
previous creation of the role of Judas.
In black boots and an elegant, black, long-cut coat, Stevens projects a depth of anguish which greatly moves the heart - and, it must be said, a sexual energy which (particularly when he changes costumes to a white, tassled number) conspicuously pleases female audience members.
So powerful is his stage presence and voice projection that he quite dominates Darryl Lovegrove's Jesus. While Lovegrove sings well and negotiates the difficult architecture of the set with confidence he struggles somewhat to avoid being eclipsed by Stevens - and the memories many audience members may have of John Farnham's 1992 Jesus.
Kate Ceberano's slightly motherly portrayal of Mary in 1992 is completely altered by Deni Hines who, dressed in a clingy magenta dress, creates with discreet and subtle suggestion an exquisitely sexual bond with Christ.
Whether intentionally or not I am unsure, but Hines sings with a tremulous underlying waver in her voice which adds considerable emotional poignancy. Her graceful movements and overall beauty are a superb counterpoint to the frenzied politicking and spicy powerplays which surge through the rest of the show.
The impact of the production's intrigue - no doubt not lost on enthusiastic opening night audience member, Premier Jeff Kennett - is partly powered by the majestic performance of George Henare as Pilate.
With consummate dramatic stature, this veteran of roles such as Othello thunders through Pilate's agonising dilemmas in a way which, though we all know the outcome, still manages to capture us on a crucible of suspense.
Jon Stevens' brother Frankie as the menacing Caiaphas is also outstanding - and Noel Ferrier's cameo as Herod is a short-lived but memorable rollick.
But the evidence of this production's quality is not all in until mention is made of Richard Wherrett's thoughtful direction, which marries a color and drama anyone can appreciate with other nuances such as visual allusion to Leonardo da Vinci's famous portrait of Christ and his disciples.
The costumes by Terry Ryan and simply breathtaking laser lighting designed by Peggy Eisenhauer are also particularly noteworthy. The special effects, such as a miasmic cone of swirling green light around the crucified Christ, are some of the most impressive I have seen on any stage in Australia.
In short, this production should baptise many newcomers to the joys of the Superstar phenomenon - and readily convert Superstar connoisseurs of old.