Jesus Christ Superstar, Epsom Players reviewed by Tony Flook

As published in the Surrey Mirror 10th November 2005

The opening of this production made an immediate dramatic impact on the eye as well as on the ear. As the title music, played at high volume, reverberated around Epsom Playhouse, Jesus made his entrance and calmly healed the sick and comforted the growing crowd gathering around him. It was just one of many unforgettable impressions in a show that held attention throughout.

In a programme note, director Steve Bittlestone paid tribute to the entire team, emphasising that this was an ensemble presentation. Indeed it was, with maybe up to 40 people on the stage - as well as a vast number behind the scenes - contributing to its success. Inevitably, though, those in key roles and some supporting parts attracted most attention. It would, for example, be difficult to think of a better candidate than Mark Fallon for the role of Christ. His initial serenity gave way to anger at the moneychangers, then to despair and, ultimately, acceptance of his fate. The quality of his acting and singing was equal to all these changes of mood. He was ideally countered by James Turnbull as Judas the zealot who felt that the revolution he had envisaged was slipping away. His sincerity of purpose could not be doubted as he proclaimed against his leader in Heaven On Their Minds and showed the same determination when he decided to hang himself.

Julie Longhurst, Mary Magdalene, was an oasis of tranquility as she assured Jesus that Everything's Alright but revealed her own self-doubt when she confessed I Don't Know How To Love Him. This second number was one of the few occasions when musical director Colin Warnock and his instrumentalists were over-emphatic - lower level accompaniment would have helped the singer bring out the meaning in a more personal way.

Steve Green conveyed the premonition felt by Pilate in his dream and, later, his distaste at having to yield to calls for Jesus' death. Chris Malone brought a touch of well-controlled camp humour to Herod complete with a light-footed dance routine, flanked by six blue-clad flappers. Brian Holman and Michael Ball were chillingly convincing as Caiaphas and Annas, who plotted Jesus' downfall.

Ensemble work was near-flawless, enhanced by impeccably co-ordinated movement. The dancers could not be faulted in their interpretation of Sarah Openshaw's choreography.

Stage design showed imagination, with mobile pillars and versatile multi-level plinths that were moved around to create a wealth of locations. This did, though, often take time and distracted from the action, which continued while the stage crew worked; the team would have drawn less attention to themselves had they worn costumes similar to those of the actors.

This is, however, one of my few reservations over a memorable production.