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Uncle Randy Productions Dates: 10-21
November 2004 Reviewer: John Jane |
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As a new and decidedly satisfying remount of the show that started Uncle Randy Productions on the road to musical theatre, Jesus Christ Superstar opened this week at the Centennial Theatre. It follows in the tradition of other Uncle Randy Productions seen over the last decade on the North Shore. With a talented local cast, headed up by Neil Minor in the role of Judas Iscariot, original producer, Richard Berg has preferred to take this production on a road less travelled, rather than imitate previous versions. Jesus Christ Superstar recounts the last days in the life of Jesus of Nazareth seen through the eyes of his enigmatic disciple, Judas. The story line focuses on Christ’s humanity rather than his putative divinity, as well as Judas’s ambiguity as a faithful follower and an unwilling accomplice in Christ’s martyrdom. Minor is a fabulous Judas, giving a raw, edgy portrayal that goes some way in revealing the disciple’s tortured soul. Nicola Correia-Damude made the most of Mary Magdalene’s "I Don’t Know How to Love Him" and “Could We Start Again.” She articulated clearly without over-enunciating and brought profound emotion to her performance. Jesse Cooper turned in a compelling, complex performance as Jesus of Nazareth. When sharing the stage with other actors, he appeared deliberately despondent, yet, coming across as passionate and zealous when on stage alone. |
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Stefan Winfield put his strong voice to good use with his dead-on portrayal as the cunning high priest Caiaphas. Scott Barnes as King Herod suffered from the staging of his song being excessively over-the-top and ridiculously hedonistic. Sure, the song requires camp to pull it off, and perhaps Barnes deserves some credit for preventing it from becoming a vulgar parody. Jesse White’s minimal, but effective set design and Shelly Stewart Hunt’s choreography combined with great effect, particularly in the creative use of marble-toned "live" statues that came to life as Judas’s subconscious tormentors. Richard Berg shied away from making the scourging scene too visually graphic, but full marks to the choreographer for presenting this so powerfully. Jesse White’s period costumes were consistent with usual notions of the time and place and showed attention to detail. The use of contemporary costumes for the ‘soul girls’ and cheerleaders in the ‘Superstar’ scene near the end of the musical were highly imaginative. Jesus Christ Superstar plays at until November 21. You might find it an overwhelming and exhilarating experience, but don’t expect a Bible lesson. © 2004 John Jane
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