In theatre going experiences there are unfortunate times when a show which one had looked forward to seeing and more specifically, hearing, are badly spoilt by sound issues that wouldn’t be intentional by the acting company. I have messaged Greasepaint Productions who became aware of several mics dropping out during the first act and thereby mixing levels weren’t able to be fixed until the much improved second half where it became necessary to have an extended interval. They have assured me that the rest of the run the sound balance will be fine. As you will read in the following review a poor sound experience can have a huge impact on the storytelling. Not every theatre goer knows the show they are witnessing or even if they are familiar with it, a different staging can affect their overall experience. So, I have taken this unusual step in writing this opening piece because we want to wholesale support local amateur groups who put in a huge amount of effort and talent to create and present a show. Please read our reviewer’s honest review with this in mind and read it to the end.
Phil Lowe (EMT editor)
Greasepaint Productions’ cast of Jesus Christ Superstar give this rock opera their all, but an overpowering band and muddled storytelling make for a frustrating evening at Loughborough Town Hall.
A standby curtain hangs across the stage as a projected countdown begins, before an electric guitar launches into the score’s haunting opening melody. It is an atmospheric start, but the volume quickly becomes a problem. In a relatively intimate venue, the band too often overpowers the vocals, leaving the lyrics difficult to decipher and the story almost impossible to follow.
Rock can be a thrilling genre for musical theatre, but it presents particular challenges when it comes to storytelling. In a sung-through musical like Jesus Christ Superstar, the songs must do all the narrative heavy lifting, with no dialogue to fill in the gaps. When the words are lost beneath the music, the story goes with them.
It was a struggle to piece together the plot, the characters’ relationships and their motivations, beyond the impression that everyone seemed to be either furious with, or infatuated by, Jesus. The difficulty wasn’t just hearing the lyrics, but understanding who was singing them and what they represented. By the interval, I had only just identified Judas, played by Andy Longley Brown, thanks to the ensemble chanting his name. More importantly, I still had little understanding of why Jesus needed to be betrayed, beyond the general impression that everyone was becoming increasingly hostile towards him.
This left the first half feeling more like a series of intense musical numbers than a coherent narrative, leaving the second half with little groundwork to build upon. As the crowd chants, “What’s the buzz, tell me what’s happening?”, I can only agree. I would very much like to know, too.
The production creates a bold visual identity by leaning into its rock-and-roll aesthetic, with grungy costumes, plenty of black leather and mesh, chunky boots and a distinctly backstage atmosphere of drink and drugs. The High Priests are reimagined as the AD Corporation, a potentially interesting take that lends proceedings a sinister corporate edge. However, this is an interpretation I only understood from the programme, with little onstage to establish who they were or what they represented. The lack of context also leaves Pilate’s reluctance to condemn Jesus without sufficient explanation.
There are, nevertheless, performances to admire. Dan Robinson impresses as Jesus, particularly with his soaring falsetto, while Brown nails the rock vocal style as Judas. Beth Cluer stands out as Pilate, bringing real presence to the role, and Jodie Pearman injects some much-needed theatrical punch into Herod’s number. Her showgirl-meets-mafia performance is a particular highlight, giving the production a welcome burst of personality. The special effects depicting the whipping scars are also impressive.
It is clear that considerable effort has gone into the production, and the entire cast give it their all. Yet technical ambition and vocal talent can only go so far when the storytelling is so difficult to follow. Ultimately, this Jesus Christ Superstar has the voices, energy and visual flourishes to make an impression, but too often prioritises its rock-concert atmosphere over narrative clarity. In a musical where every song matters, the audience needs to be able to hear the story as well as the music.
The improved sound balance in the second half made a noticeable difference, allowing the vocals more room to breathe and the storytelling to come through more clearly. Hopefully, this can be maintained for the remainder of the run, giving future audiences the chance to appreciate the cast’s considerable talent without having to work quite so hard to follow the story.
Photos credit: Mark Chinnery and Mark Corns
