New Critical Voices: Shannan Turner on Jesus Christ Superstar

Chris O'Rourke
1 minute ago
3 min read

Entr’acte's production of Jesus Christ Superstar. Image Alison Whelan

*****

There’s professional and then there's professional. Usually, professional means a paid gig. But there are also professional standards, which many paid gigs struggle to live up to. Entr’acte Music Society’s Jesus Christ Superstar might be an amateur production, but Entr’acte’s professional standards are second to none. Their revival of Jesus Christ Superstar worthy of an Off-Broadway run for delivering a phenomenal theatrical experience.

How do you make a 55-year-old religious musical about the final week of Christ relevant for a modern and secular audience? Entr’acte know exactly how. You stage it in a graffiti riddled, run-down setting. Where Jesus is lesser known as the son of God and more a political leader in Jerusalem. Judas is reframed as anti-hero rather than the Devil’s Advocate. A man whose practical nature conflicts with Jesus’ desire for peaceful protest. You lean into contemporary media images of Palestine, Ukraine, and ICE protests in the USA. You get a committed cast and crew who give it their all and then give some more. Finally, and most importantly, you put Niamh McGowan, director, choreographer and costume designer at the helm. McGowan delivering a wow-factor production with a contemporary twist on pro-active youth movements of today.

Entr’acte's production of Jesus Christ Superstar. Image Alison Whelan

Unapologetically loud and energetic, Andrew Lloyd Webber's rock opera, written in 1970 with EGOT lyricist Tim Rice, follows biblical events depicting the final days of Jesus' life. In which infamous Judas Iscariot (a terrific Ruairí Nicholl) expresses his disapproval of Jesus (a towering Joe Jennings) and his elevation to celebrity status. The overwhelming pressure of idol worship in a media driven world during a time of war having significant relevance to the world we know. McGowan’s direction making way for layered interpretations. Costuming, supported by staging, displaying the power imbalance between protesters and late-stage capitalists. The capitalists in suits set against protesters in outfits you might spot on any university campus. Anthony Kirby’s stage making Jerusalem familiar even if you’ve never been. Kirby’s graffiti sprayed temple, by David McElgunn, with its moveable staircases transforming into a variety of locations whilst housing the band. A pejorative term for a mini orchestra who play superbly under musical director Róisin Hennan. Music almost as lush and beautiful as Gavin Coll’s excellent lighting palette. If the volume of music means voices struggle to be heard in the lower register, it's more to do with acoustics than vocal restraints. In the higher register, across the board, singing is sensational. Opening night it leaned into the technical more than the emotional, but one expects the emotions will deepen as the run progresses.

Entr’acte's production of Jesus Christ Superstar. Image Alison Whelan

Despite its secular relevance, this is still a story about Jesus. Coll’s lights often suggesting a church’s stained-glass window, with artwork referencing the New Testament. Lighting by Coll also aids the exaggerated deification of Jesus, emphasising his ‘superstar’ quality. But all this implies Jesus Christ Superstar is static when it is a whirling tornado of endless energy choreographically directed to perfection. With many strong performances. Joe Jennings’ Jesus revealing why everyone was obsessed with the guy. The Marty Supreme lookalike presenting a modern-day celebrity who charms the stage with his peaceful yet powerful demeanour. His humility endearing, making his suffering emotionally engaging. Ruairí Nicholl’s Judas and Katie Taylor’s Mary Magdalene gifting viewers with moments of true emotional connection to Jennings’ son of God. The relationship between Iscariot and Christ best embodied in Gethsemane, heightening the emotional tension of Judas’ betrayal.

Entr’acte's production of Jesus Christ Superstar. Image Darragh Carroll

Jesus’s trial by media, courtesy of a conniving and entertainingly villainous Caiaphas and Annas (Gavin Coll and Daniel Whelan) sees televised screens, MMA boxing matches, smartphone recordings, and showbiz performances mirroring modern media representations. Anna Bergin’s Pilate and Daniel Ryan’s Herod undeniably entertaining in King Herod’s Song and Trial Before Pilate. The large chorus of dancers and singers an ensemble to marvel at. Timing, energy, synchronisation and detailed performances all phenomenal to watch. Energised and energising, the penultimate song, Superstar, makes you want to get up on your feet as it brings the house down with undeniable wow-factor. Fading into the final number, The Crucifixion, which leaves you poignantly moved because McGowan and Co. have clearly done their work.

Entr’acte's production of Jesus Christ Superstar. Image Alison Whelan

Jesus Christ Superstar offers a contemporary depiction of modern politics. For an ‘amateur’ musical society Entr’acte certainly put many professional companies to shame. A choreographer and director destined for greatness, and a cast without an ounce of waste, Jesus Christ Superstar features future stars of tomorrow. A thrilling experience that will leave you praying for more.