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ACT I
The play opens with Judas worrying that Christ's ministry is being subverted by his more militant followers who want to turn him into a figurehead for an uprising against the occupying Roman forces (Heaven On Their Minds). He fears the deadly consequences that would surely result from such an uprising but is seemingly alone in his fears. Later, the apostles are buzzing with excitement, pressing Jesus about his plans for the future (Whats The Buzz). Jesus cannot contain his frustration at his followers lack of understanding as their demands on him become increasingly more warlike. Mary Magdalene tries to comfort him, but Judas berates Jesus for allowing a woman of dubious reputation to associate with him. Jesus angrily responds that only those who are pure themselves have a right to judge (Strange Thing Mystifying). After Judas leaves, Mary attempts to soothe Jesus and bring him peace of mind (Everything's Alright). Elsewhere, the council of high priests are convening and, alarmed at Jesus growing popularity, resolve that drastic action must be taken to bring him down (This Jesus Must Die). Later, Jesus and his followers make an exultant entry into Jerusalem (Hosanna) where, emboldened by Jesus growing popularity, Simon beseeches him to lead the people in a bloody rebellion to overthrow their Roman Masters (Simon Zealotes). Jesus responds that Simon and the rest have not understand the meaning of his teachings and despairs of the difficult times in store for his people (Poor Jerusalem). The Roman governor, Pontius Pilate, meanwhile is troubled by a recurring nightmare of a man torn apart by an angry mob for which he gets the blame (Pilate's Dream). Jesus then arrives at the temple in Jerusalem and in angered that it has been turned into a marketplace and a den of theives and moneylenders. He drives them all out (The Template). Exhausted and emotionally drained, Jesus is then overwhelmed by a crowd of sick and disabled demanding he use his healing powers to cure them. Mary intervenes and leads him to quiet place where she soothes him to sleep (Everything's Alright - reprise). While Jesus sleeps Mary expresses her feelings for him (I Don't Know How To Love Him). Elsewhere Judas struggles with his conscience as the high priests prevail upon him to turn Jesus over to them (Damned For All Time). Eventually, persuaded that it is for the good of the people, he succumbs and tells the high priests where Jesus can be found (Blood Money).
ACT II
A few nights later, Jesus disciples are preparing to observe the Passover in the Garden of Gethsemane (The Last Supper). A troubled Jesus predicts that later that evening Peter will deny him and that his betrayer is in their midst. He rounds on Judas who angrily responds that Jesus himself is responsible for this turn of events by not curbing the ambitions of his followers. Jesus tells him to get out, and after the remaining apostles have lapsed into sleep agonises over his destiny (Gethsemane). Judas returns with a party of Roman soldiers and betrays Jesus to them with a kiss. The apostles try to intervene but Jesus orders them to put away their swords, telling them it is over (The Arrest). Jesus is dragged away to be interrogated by the council of priests. When they ask him if he is the son of God he replies that others call him that. The council hand him over to the Romans for trial and execution. Outside, the crowd turn on Peter recognising him as one of Jesus' disciples, but three times Peter denies knowing him (Peter's Denial) thus fulfilling Christ's prophecy. Jesus is taken before Pilate who attempts to avoid responsibilty by passing him on to Herod (Pilate and Christ). Herod, however, is not so much concerned with the question of his divinity as with his celebrity status and ability to perform miracles. He ridicules Jesus but offers him freedom in return for performing a miracle (Herod's Song). When Jesus refuses Herod sends him back to Pilate. Mary and Peter watch from in hiding but are powerless to help him (Could We Start Again, Please?). Judas meanwhile is wracked with guilt over his betrayal, blaming God for casting him in the role of the villain. He is driven to suicide by hanging himself (Judas Death). At Jesus trial, he is publicly scourged (39 Lashes). Pilate is reluctant to take responsibility for Jesus fate but the baying crowd and Jesus refusal to defend himself force his hand (Trial by Pilate). He sentences Jesus to death by crucifiction. As Jesus is prepared for the cross, Judas returns from the grave to reflect with Jesus other supporters on this turn of events (Superstar). Jesus is nailed to the cross where he dies forgiving his tormentors and commending his body into the hands of his heavenly father (The Crucifiction/John 19:41).
This showcase production by The Yorkshire School of Performing Arts contained students of varied ages from quite young children to young adults, with the main performers being in the latter category. The set was very basic, consisting essentially of a raised platform with wooden steps at stage left and a small scaffolding tower at stage right (which was needed for the hanging and crucifiction scenes). Much use was made of smoke generators, at time's being a little overdone so as to partially obscure the players. The costumes were varied and of good order, principally: a loose white shirt and trousers for Jesus, black leather jacket and trousers for Judas; long velvety red dress for Mary; combat fatigues for the Apostles; and a Nazi style peaked cap and long leather coat for Pilate. Herod was outfitted as a dandefied effeminate whilst his dancers wore glittering sequined jackets and top hats over fishnet stockings. The focal point of the story is of course the scourging and crucifiction of Jesus, which were so well done as to be actually quite harrowing.
Of the central characters: Kristian Tiffany gave an empassioned performance as Jesus, really living the part and frequently trembling with the effort. He has an excellent singing voice although he did struggle with the high notes. Alex Hogg, for me at least, stole the show with his rendition of a confused, embittered and angst-ridden Judas, and gave us some powerful musical numbers. The best individual musical performance however was that of Kayleigh Stevenson as Mary Magdalene, her rendition of (I Don't Know How To Love Him) being the musical high point of the show. She has a beautifully melodious singing voice and must surely have a successful career in stage musicals ahead of her.
A glittering showcase of talented young performers - an excellent advertisement for the stage school.