Jesus Christ Superstar (2003)
The only thing better than seeing the Adamson Theatre Company's Jesus Christ Superstar was seeing it twice, the use of a dual cast for some of the major roles making the experience doubly rewarding. This was an outstandingly sensitive and atmospheric theatrical event, culminating in a realistic crucifixion that was bold and uncompromising.
Superb in the title role, Graham Foote brought such verve, authenticity and sheer professionalism to his interpretation as to make it heart-rending, a genuine tour de force. His prodigious talents in both singing and acting resoundingly vindicate his decision to pursue a career in theatre - watch for his name in lights! Sharing the role of Judas, Sophie Brous and Josh Piterman were similarly magnificent in voice, interpretation and gesture, no less so the amazingly talented Miranda Coyne and Katerina Pshenichner, who shared the role of Mary Magdalene. Victor Finkel's astonishingly mature portrayal of Pontius Pilate brought this complex character to life unforgettably, while Zac Zavod's languidly dissolute Herod, backed by a glittering chorus of high-stepping showgirls, was a triumph of comic relief.
Impressively sinister as the high priest, Caiaphas, Simon Roberts produced what must surely be some of the deepest bass notes ever to be heard on the Adamson Hall stage! Special mention is also due to the stellar ensemble, whose performances matched the professionalism of the leads in every way: Will Clarke as Annas, Julian Raff and Sophia Exiner as priests, Cameron Mitchell as Simon Zealotes, and Raffi Luber and Tim Mayfield alternating in the role of Peter, to name but a few. The wonderful chorus, highly disciplined specialist dance group and menacing soldiers all contributed to the impact and spectacle of the production.
Full credit is due to the dedicated team which has once again brought a stunning and uncompromisingly professional musical production to the Adamson Hall stage: to Dawson Hann, Clare Cooper and Tony Scanlon for their stylish and imaginative direction; to Felicity Pearson for her exciting choreography; to Tony Scanlon and his crew for their spectacular sets; to Sabino Del Balso for his brilliant lighting design and technical direction; to Ben Marsland for mixing the sound so professionally; to Stephanie Des Barres and Jill Welch for their splendid costumes.
The orchestra, conducted by Peter Foley, was truly magnificent, as indeed was the singing under the expert and nurturing direction of Jessica O'Bryan. Since leaving Wesley I have learnt to stop attempting to tell outsiders about the merits of productions here for fear of appearing to exaggerate the 'what is possible' of school productions. I now accept that the professional standard of Adamson Theatre Company productions has to be experienced to be believed.
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