Whilst UMMTS and MUMS have a number of thematic crossovers, their first official collaboration is one to remember. They took Jesus Christ Superstar, already boasting capacity for drama and grandeur, and made it deserving of the highest recognition.
Jesus Christ Superstar, written by Andrew Lloyd Webber and Tim Rice, follows the traditional story of the crucifixion. The plot centres on Judas’s growing disillusionment with Jesus, his subsequent betrayal, and the events leading up to Jesus’ crucifixion. Not your normal Easter story, it is written to show the complexities in the widely accepted story. Including Judas’ personal dilemmas, Jesus’ relationship with Mary Magdalene, and Peter’s betrayal. The show spectacularly climaxes with the crucifixion.
Performed in concert style and directed by Levi Collin (vocals) and Natalie Ings (staging), the cast was led incredibly by by Rachel Burnett (Jesus), and Jamie Marriot (Judas). They very effectively highlighted the clash between their characters with their impressive vocal talent (and the striking saxophone battle!), leaving the audience conflicted about whom to side with.
This theme of conflict runs rampant throughout the play: between the disciples and the high priests of the Roman Empire (a notable duo played by Jacob Marsden-Pierce and Katie Sutton), between Pilate and Jesus, and between Mary Magdalene and Peter. There’s a general feeling that a number of characters were competing for the narrative, much to the credit of the entire ensemble.
A standout for us was Mary Magdalene, played by Ruby Spiegel, who struck through the animosity with a number of beautiful ballads. Amidst such strong, high energy rock songs, the change of tempo and emotion she brought was welcome. This is to the credit of Spiegel, but also the whole band who adjusted smoothly. These were our favourite moments because they drew upon the complexities of the plot.
Under the direction of Maia Rey Macia and Eve Klein, the band set the tone from the overture, establishing a palpable tension that threaded through the entire performance. There was a demanding task of sustaining such high energy, given the blend of rock, funk, ballad, and gospel styles. Contrasting this with the deep bass and march-like rhythms of darker songs was a challenge the band excelled at.
Their performance built in intensity, culminating in a gripping final crucifixion scene. Bolstered by the ensemble’s powerful vocals, the band’s dynamic presence amplified the drama, keeping the audience riveted. The electric guitar solo (Garret Healey) and the tenor saxophone solo (Ben Gibson) also stood out to us as moments which blurred the lines between musical concert and a rock show. Building on the score’s excitement allowed MUMS to showcase their diverse talent and adaptability.
Undeniably, UMMTS and MUMS work incredibly together and make for a natural pairing. Exemplified through their mutual understanding of the tone and compatibility to execute such a dynamic performance, but also, surprisingly, through the means of a tap dance between Herod (George Aldridge) and the second act conductor (Eve Klein). A break of the fourth wall moment, one could say, but an enjoyable comedic moment that, much like Herod’s performance, relieved the audience briefly of the intensity of the second act. We both noted that this was well suited to the specific cast members and made great use of The Martin Harris Centre for Music and Drama.
Unfortunately, there were moments where we felt the band and cast were competing. The score’s rock-driven intensity, one of the show’s defining features, demands high volume and energy, which the band delivered with impressive force. However, this sometimes made it difficult to hear the lyrics clearly, particularly during ensemble numbers. Given that the entire story is sung through, this meant it was hard for us to pick up nuanced storytelling and character development. Whilst the acting, music intensity, and effective lighting and stage choices makes it easy to follow the general feeling, we would recommend being familiar with the songs and plot to maximise the experience.
Jesus Christ Superstar was still overall an incredible show and a great chance for the societies to collaborate while still showcasing their independent talent. Despite its high energy and rock focus, the show offers the chance to reflect on the complexities of the crucifixion. Hopefully, this will pave the way for increased collaboration in the coming years.
