Gordon Stackhouse

Jesus Christ Superstar

25/01/23

Church Hill Theatre, Edinburgh

I’m by no means a big fan of Andrew Lloyd Webber (and I’m an atheist to boot) but I have to admit that I’ve always had a soft spot for Jesus Christ Superstar. Back in 1971, the ‘rock opera concept album’ (as it was originally styled) had a revered place in my vinyl collection and was played on a regular basis, much to the consternation of my flatmates. I genuinely believe that Webber’s rock inflected melodies and Tim Rice’s acerbic lyrics are one of the great musical partnerships of the seventies. It’s an ambitious show for a student group to take on, but EUSOG are good at rising to a challenge and, in this stirring, gender-blind production, they attack the familiar material with their customary brio.

Of course, at the the heart of the musical lies the adversarial relationship between Jesus (Roza Stephenson) and Judas (Hollie Avery), but there are plenty of other opportunities to shine and director Izzy Ponsford ensures they are not ignored. There’s a stately performance from Gordon Stackhouse as Pontius Pilate, a man haunted by the fact that his name will be forever associated with the murder of an innocent. Sofia Pricolo handles Mary Magdalene’s plaintive ballads with aplomb and actually manages to coax tears from me during I Don’t Know How to Love Him. As Herod, Joey Lawson offers a jaunty, crowd-pleasing turn, complete with flashy tap dancing, while Theo Chevis and Kathleen Davie convince in their chilling double act as the priests, Caiaphas and Annas.

But more than anything else, JCS is an ensemble piece, so hats off to the huge chorus of disciples and acolytes, who breathe life into this Biblical extravaganza. Emily Bealer’s exuberant choreography is perhaps the standout of the production, but the music is excellent too: a twelve-strong band under the joint supervision of Emily Paterson and Falk Meier, providing note-perfect renditions of all those memorable songs.

It’s also nice to see a EUSOG production in the comparative luxury of the Church Hill Theatre – we’ve seen them perform in a variety of locations and this is the best venue so far.

I leave humming one of my favourites songs – Could We Start Again Please?- having been thoroughly entertained.

4 stars

Philip Caveney

The Importance of Being Earnest

26/02/20

Bedlam Theatre, Edinburgh

We’re a little late to this because of conflicting dates in our calendar and, it must be said, that in the depths of a very chill February, Bedlam Theatre is not a venue for the faint-hearted. But, suitably wrapped up in layers of winter clothing, we soon discover that this is a production worth braving the elements for.

The Importance of Being Earnest is probably Oscar Wilde’s funniest play. It’s certainly his most quotable effort, fairly bristling with those witty, erudite one-liners that he’s justifiably acclaimed for. It marked the climax of his career – at the opening night in 1895, Wilde was presented with that infamous bouquet by the Marquess of Queensberry, and the rest is tragedy.

The play is, of course, mostly about the titular character, who is Jack in the city and Ernest in the country, largely because he’s an orphan who was discovered, as a baby, in the left luggage department of Victoria station. In a handbag. (A handbag?). He’s played here by Gordon Stackhouse, with just the right amount of angel-faced insouciance, delivering a deadpan double-act with his best friend, Algernon (Fergus Head – last seen by B&B in the thought-provoking, Education, Education, Education).

Ernest/Jack is wildly in love with Algernon’s cousin, Gwendolyn (Aine Higgins), but must first convince her overbearing mother, Lady Bracknell (Ishbell McLachlan), that he has what it takes to be a suitable husband. Lady B is, of course, a gift for any actor and McLachlan makes the most of the opportunity, firing on all cylinders and portraying her as magnificently awful, with a voice that could stop a runaway ox in its stride.

Algernon meanwhile (who is also pretending to be Ernest – don’t ask) takes one look at Jack’s young ward, Cecily (Georgie Carey), and proposes marriage to her. How the ensuing complications are untangled is the stuff of wild(e) farce, and this jaunty three-act play virtually rockets along, coaxing much laughter from the audience along the way. It’s a student production, so the props are on the rickety side, but they’ve done wonders with what they’ve got (somebody please give these people a bigger budget!). I’m onside from the opening salvo of Smiths/Pulp/Beastie Boys tracks that precede the first act. A final scene where the cast dance gleefully along to Primal Scream’s Rocks is frankly an inspired touch.

I think Oscar would have approved.

4.2 stars

Philip Caveney