This production has re-affirmed my belief that community theatre is reaching very high standards.
— Christine Castle
|Emma Greenwood||Soul Girl|
|Louise Norbury-Robinson||Soul Girl|
|Laura Wilkinson||Soul Girl|
|David Battersby||Audio Editing|
|Anne Bigland||Front of House|
|Lynne Bigland||Stage/Technical Crew|
|Tim Bigland||Stage/Technical Crew|
|Tony Dawson||Stage/Technical Crew|
|Thomas Gulliver||Stage/Technical Crew|
|Adam Moore||Technical Lead|
|Louise Norbury-Robinson||Musical Director|
|Chris Speight||Stage/Technical Crew|
|Dan Speight||Stage/Technical Crew|
|Andrew Thomson||Stage Manager|
|Ian Thomson||Audio Editing|
|Tricia Thomson||Stage/Technical Crew|
As any seasoned theatre-goer will agree, often you get the feeling you are about to see an excellent show simply by stepping into the auditorium. This was exactly my thought... Christine Castle
As any seasoned theatre-goer will agree, often you get the feeling you are about to see an excellent show simply by stepping into the auditorium. This was exactly my thought as I entered Whitkirk's production of Jesus Christ Superstar. The Church Hall had been transformed by an impressive thrust stage, scaffolding and subtly painted flats.
The vibrant chorus, costumed in appropriate modern dress, set the scene, singing expertly without the benefit of a visible musical director and had no missed cues! The role of Jesus, sensitively played by Matthew Jameson was a tour de force. Matthew Jackson, as Judas, captured brilliantly his tortured soul and his diction in solo numbers was excellent. Becky Manley’s interpretation of 'Mary' was perfectly performed. Other principal roles complimented the overall high standard of this production. Purists may have been concerned in the casting of women in the roles of Pilate, Herod and Simon, but their performances outweighed the detractors. After all, by modernising the production, why not?
The director should be congratulated on a strong and innovative production. The musical director had trained her cast carefully, adjusting the score for her principals' capabilities.
The production was ably controlled by Andrew Thomson (Stage Manager) and his crew; excellent lighting design by Adam Moore with sound and audio editing by David Battersby and Ian Thomson.
The 'pièce de résistance' had to be towards the end of the performance when the Cross miraculously appeared from the stage to rise to a height of 14ft!
This production has re-affirmed my belief that community theatre is reaching very high standards and my congratulations are extended to everyone concerned with the production.×