All posts by Richard Evans

Theatre

Review: Pride and Prejudice Theatr Clwyd, Mold, by Richard Evans

1 Comment

By Kate Hamill, adapted from Jane Austin’s novel Theatr Moondance, Theatr Clwyd, October 15 – 25th 2025 and touring

out of 5 stars (3.5 / 5)

An Octagon Theatre Bolton, Theatre by the Lake, Stephen Joseph Theatre and Hull Truck Theatre production, in association with Theatr Clwyd

To mark the 250th anniversary of Jane Austens birth, a new Pride and Prejudice play sounds a great idea. We were promised a witty retelling of this classic novel and there was plenty of humour, even farce, but would this do justice to the original or the numerous subsequent films and serialisations?

The story of course is well known.  Four sisters living in a rural location with no dowry need a match yet the older two are on the verge of spinsterhood while the younger two show little sign of maturity.  When Darcy arrives he is disparaging about this provincial, rustic society so when he proposes to one sister, Lizzie despite his better judgement he is surprised to be refused.  He then sets about successfully winning her hand managing to change the determined attitude of his beau. 

There was much to enjoy about the evening, Rosa Hesmondhalgh as Elizabeth Bennett was forthright, outspoken yet loyal to her family despite the many frustrations they caused her and James Sheldon’s Darcy visibly softened from an arrogant attitude to one demonstrating consideration and compassion beyond expectations.  The scenes where Darcy proposes and where he and Lizzie finally find each other were captivating.  The audience also warmed to the plentiful farcical humour with the figures of Mrs Bennett (Joanna Holden) and Mr Collins (Ben Fensome) in particular appearing almost pantomimesque.

There were some strange decisions concerning casting.  Eve Pereira carved out a lovely put upon role as Mary Bennett but was also asked to play Mr Bingham, despite her smaller physical stature compared to the other male characters.  Jessica Ellis was funny and vivacious as Lydia Bennett yet was less convincing and quite shouty as Lady Catherine de Burgh.

The major difficulty of staging Austen’s masterpiece, Pride and Prejudice, is that it is so well loved and so much part of peoples literary history that some people are bound to be disappointed.  This production fell between two stools.  The costuming indicated that it was set in Regency times but no attempt was made to adapt period mannerisms, language and attitudes.  There is a small genre of novels that are modern Pride and Prejudice retellings such that a contemporary setting for the play is a realistic prospect.  

Austen is well loved for her dry wit and irony but is not known for her slapstick and farce.  As a consequence, there are many who would have preferred a version that retaining the quiet reserved dignity associated with upper class Regency society.  However, for others, they will enjoy this show, funny as it was, after all the storyline of Pride and Prejudice remains compelling.

Music

Review: That’ll be the Day, Venue Cymru, Llandudno by Richard Evans

2 Comments

Venue Cymru, Llandudno, Sept 12 and touring

out of 5 stars (4.5 / 5)

T C Productions Ltd

This performance is part of the 40th anniversary tour of ‘That’ll be the day’ and labelled as the farewell tour of Trevor Payne.  Would this be indulgent nostalgia or a more vital performance that loyal fans are used to?  Most certainly it was the latter with a few reminiscences thrown in for good measure.  

The show starts with a medley of rock ’n’ roll numbers such as ‘Oh Boy’ and ‘Rock around the clock’ and before the interval there is a large focus on sixties music with a range of artists represented including the Beatles, the Beach Boys and Frankie Valli and the Four Seasons.  Each of the main performers take their turn in singing that song best suited to their voice.  For me, the vocals of Nikki Renee Hechavarria were outstanding but there were no weaknesses in the line up.  The songs tended to be of a type, upbeat, optimistic, sing-a-long and all came from the charts.  Would it be too much to ask for something more raunchy like ‘The Who’, or for a protest song from Bob Dylan?

The backing musicians were excellent.  They were on stage for the vast majority of the show, playing a range of different styles and providing backing vocals for countless shows.  Along with the sound and lighting crew these would be the unsung heroes of the show.  There was a nice moment when Ollie Grey was handed the original Fender Stratocaster played by Trevor when the show first started, long before Ollie was able to pick one up.  

The show is more than a musical review.  Songs are interspersed with small comic videos and comedy routines.  There is great repartee between Trevor, who writes, produces and directs the show and Gary Anderson.  The jokes are often suggestive, much in line with ‘Carry On’ film humour which is highly appropriate given the origins of the show are in holiday camp theatres in places like Minehead and Bognor Regis. There are also sections were performers impersonate popstars.  To do this, a performer has to move fairly seamlessly between characters, and then take on a new persona for a couple of songs.  This makes the show quick paced and engaging throughout. 

To last 40 years, there has to be a winning formula especially when the show has people who return year after year or more than that, travel around to see the show in different venues whether in Britain or elsewhere.  It is great to see how the show has developed playing larger venues and attracting more followers and that they have been generous enough to support charities like the Make a Wish foundation, Childline and Help for Heroes.  During lockdown, the show was streamed into people’s homes with over 200 performances taking place. 

For many an evening like this is a trip down memory lane to see a choice selection of hits from the 1950’s to the 1980’s but there is enough here to engage both young and old.  It is thoughtfully prepared and well rehearsed with the cast and crew working together as a team.  As befits such a well honed show, it is a great nights entertainment. 

Musical, Theatre

Review: Annie Get your Gun, Theatr Clwyd, Mold by Richard Evans

Leave a comment

Theatr Moondance, Theatr Clwyd, Mold, Sept 3rd – 6th 2025

out of 5 stars (3 / 5)

Tiptop Productions

Was this a musical or a concert?

The opening, show stopping number, ‘There’s no business like show business was lively, passionate and well coordinated and indicated that it was the former, a musical.  One would then expect the stage to clear and the acting to start, but instead the ensemble sat down in serried rows and the action took place in front of them, indicating it was more of a concert.  In this way the production was neither one nor the other.  

The story of Annie is loosely based in history.  Annie is a poor girl who traps and shoots animals to feed her siblings.  She is set up to challenge Frank Butler, a sharpshooter in Buffalo Bills Wild West show and wins.  She then joins the troupe and falls in love with Frank but he will not accept Annie’s new found fame and leaves for a rival troupe, run by Pawnee Bill.  Buffalo Bill’s show tours Europe to great acclaim but little financial gain so has to come home and merge with Pawnee, thus bringing the two stars together again.  When Annie loses a shooting match to Frank on purpose, they are reconciled and get married.  

The company are enthusiastic in their endeavours despite being self conscious at times.   Jade Pritchard is well cast as Annie and has a great voice.  She has a good rapport with Gareth Hughes as Frank especially when they are acting as rivals.  Their duet with ‘Anything your can do I can do better’ was memorable.  Annie’s young siblings, Grace Hill as Jessie, Abigail Garner as Nellie and Arlo Lucas as Little Jake were a bundle of energy.  The action though was static at times, limited by the staging where the action took place behind four microphones at the front of the stage.  The production also lacked attention to detail especially in costuming, with some 20th Century shoes on show and the odd suit that seemed straight out of the 1970’s.

The musicals main characters in real life, Annie Oakley and Frank Butler were indeed natural sharpshooters.  Annie came from an impoverished background until she won her shooting contest with Frank.  They married and formed a performing partnership with great success.  Annie, in a long career went on to support women’s rights and to teach self defence lessons.  The Hollywood version is a more saccharine coated, sanitised version where Annie has to lose a second shooting match with Frank in order to win his heart, indicating perhaps that the male ego could not stand the prospect of being less successful than a female.  

The musical raises a question, what does a man look for in a woman?  According to the song, ‘The girl that I marry’ she will be ‘as soft and pink as a nursery’, wearing satin, laces and cologne and having polished her nails.  And that is what Annie had to change to be in order to get her man.  This seems a world away from the real life Annie, and out of kilter with many women today.  However, this should not stop us enjoying what is a feel good show with great Irving Berlin songs and which was enthusiastically and competently performed by the company.   

Musical

Review: Calamity Jane, Venue Cymru, Llandudno, by Richard Evans

Leave a comment

Venue Cymru, Llandudno, 26-30th August 2025 and touring

out of 5 stars (5 / 5)

Jamie Wilson productions, Kevin McCollum, Gavin Kalin productions, evolution productions, Tilted, Willette & Manny Klausner in association with Grace street creative group and David & Hannah Mirvish. A Watermill Production.

Calamity Jane. They’ve turned the legend of a gun totin’, liquor swillin’ girl masquerading as a man into a love story.  The actual events of Calam’s life are based in fact, but have been exaggerated, not least by the woman herself.  However, we should not let our quest for reliable history get in the way of a rattling good story which is what this musical is.

Calamity Jane breezes into a Deadwood saloon having guarded the stagecoach safely into town.  On the coach is Francis Fryer, an entertainer.  Sadly, he does not possess the attributes desired by a hard living audience that has been starved of female company.  He is a man.  When the saloon owner nearly causes a riot trying to fool the waiting crowd that Francis is actually a woman, Calam goes to Chicago to tempt a music hall star, Adelaid Adams to come to Deadwood. As befits her name, she makes a disastrous mistake and brings back her maid, Katie Brown.  However, Katie turns out to be a roaring success and settles with Calam in her run down shack and brings out the more feminine sides to her hosts character.  The two women then become love rivals for an army lieutenant, Danny, before Calam realises that her love for her long time companion and critic, Wild Bill Hickok is mutual and Katie is free to marry her soldier.

Carrie Hope Fletcher is great as Calamity, commanding the stage with her presence.  She is ably supported by Seren Sandham-Davies as Katie, Samuel Holmes as Francis and an understudy for Bill, Thomas Wolstenholme. The company provided plenty of warmth, energy, optimism and banter as the story unfolds into a quick placed drama.  Scene changes were effected by moving props and this required some imagination, not least in the formation of a stage coach by the cast.  The music gave a hoe down feel to the show and there were plenty of catchy numbers to go along with the iconic ‘whip crack away’ Deadwood stage song making this a feel good show.

There is some depth to this story.  Bill Hickok repeatedly wants Calam to be more like a girl, but she is more comfortable wearing buckskin leathers, carrying a six gun and earning the right to be accepted in this hostile culture on her own merit.  However, most of her compatriots drool over the suggestive temptress that is Adelaid Adams.  Herein is a spectrum of femininity and surely there is a place for all along that line.  A woman should be free to be who she wants to be.  Men need not be threatened by a physically strong, aggressive woman and should not expect a woman’s best qualities to lie in her appearance.  Not a bad lesson to come from a good nights entertainment.  

In one sense the story is a throwback to watching Rawhide or the Virginian on TV for those of us with long memories.  We now know that the entertainment industry has sanitised and romanticised stories of the wild west.  The reality was more raw and brutal than we have been led to expect, not least to the surrounding Native American Indian cultures that were often dispossessed quite violently.  However, this is just a story based on the life of a remarkable individual and if a story is a good one, it is worth telling and by the audience reaction, this musical is certainly that.  A raucous, enthusiastic reception was given to a deserving cast after a sparking show.

Theatre

“Curtains Up: Celebrating Culture and Communities at Theatr Clwyd” by Richard Evans

Leave a comment

We have missed the steady stream of thoughtful, original productions from Theatr Clwyd while it has undergone a major refit and renovation over the past four years. Whether it is an in-house production where all the costumes and scenery are made on site or from a visiting company the theatre has a long history of distinctive and entertaining performances. It is therefore a real pleasure to witness the reopening of Wales’s largest producing theatre.

It was in 2010 that a survey revealed that the building was reaching the end of its working life. Structurally it was becoming unsound and increasingly expensive to maintain. In 2016, a water pipe bursts flooding the dressing rooms. In 2017, snow fell through the top floor ceiling. The catering facilities needed upgrading, the kitchens not suitable to fuel a restaurant and the conveniences needed improvement. People joked about finding a skeleton in the lift it had taken
so long to reach the top floor.

After the appointment of Tamara Harvey as Artistic Director and Liam Ford Evans as Executive Director an ambitious project to save the theatre and renovate it was tabled. The plan sought to update and future proof the building and diversify its range of uses. It would have an extension to the front, a new terrace and restaurant on the first floor with stunning views of the Clwydian Hills, a new double height rehearsal room, renovated production spaces for costumes and sets and updated backstage facilities to attract the highest quality talent. The outdoor performance space would be moved to front of the building.

The theatre has built strong links with the community in recent years and the renovation has sought to facilitate that further. There is a new arts and health suite suitable especially for young families with a play area both in and outside the building as well as a well-being landscaped garden. There is a programme of activities to help support people with health conditions through the arts. The theatre has become a Theatre of Sanctuary supporting those seeking refuge or asylum.

There is attention to detail within the renovation. Despite working with an older building, the place seeks to be environmentally aware, being gas free, harvesting rainwater and working towards carbon neutrality. The shape of the main auditorium has not changed, there is not a bad seat in the house anyway and the acoustics are great, but the seating, staging, orchestra pit and wings are all new. There is a safe viewing space for neurodivergent customers and a dedicated youth hub area where young people can rehearse, learn and play.

These plans could not be achieved without the support of the Welsh Government, Flintshire County Council and the Arts Council of Wales. This still left a daunting sum of £5 million to be raised by the theatre itself. It is a testimony to the affection for the theatre felt locally that it has been able to raise 80% of that figure, but you can still purchase a seat for £100 and name it

Theatre

Review: An Inspector Calls, Venue Cymru, Llandudno by Richard Evans

Leave a comment

Venue Cymru, Llandudno, May 13th – 17th 2025 and touring

out of 5 stars (4.5 / 5)

A PW production. Directed by Stephen Daltry. Written by J. B. Priestley

“Send not for whom the bell tolls, it tolls for thee.”  John Donne, Meditations.

J. B. Priestley’s play is now regarded as a 20th Century classic and rightly so.  Especially since Stephen Daltry’s revival in the 1990’s it has become a staple in so many English Literature curriculums up and down the country. Would this production live up to the play’s reputation?   Tonight, it certainly did.

The action focuses on the highly successful Birling family who are celebrating the betrothal of their daughter to the son of a rival business firm.  As this takes place, an inspector knocks at the door and informs them of the death of a woman, Eva Smith, from a painful suicide.  The inspector in turn interrogates every member of the Birling family and the fiancé to uncover their part in Eva’s demise, something that they had been unaware of and felt no responsibility for.  In a dramatic climax, the family understand that this inspector was a mysterious imposter and that there was no suicide so intend to carry on as usual, until they get a phone call informing them of the death of a woman through suicide and that an actual inspector is on his way to investigate. 

The cast communicated the powerful nature of this play really well.  Tim Treloar was excellent as the inspector and Leona Allen striking as Sheila.  However, in a play with much confrontation there were times when dialogue was lost as people spoke very quickly and the music while adding drama to the action could be too loud.  The set was effective, with the dining room of the family set above the stage.  When the family realises they will be disgraced by their callous treatment of Eva, the room collapses.  There is attention to detail.  When Mrs Birling walks from her house, a carpet is rolled out for her to walk on.  

The play has several layers of meaning, some obvious, others more subtle.  The most striking point is that we belong to a society and have a duty of care to a greater or lesser extent for each other.  A laudable ambition which is undermined by an inherent selfishness that we all seem to possess.  Less apparent is how the play attacks the hypocrisy of Victorian and Edwardian society and its attendant class system.  As the song “All things bright and beautiful” illustrates, ‘the rich man in his castle, the poor man at his gate’, a structure ordained by God.  Priestley’s socialist views reacted strongly against this idea.  

The play is regarded as a drawing room drama, and as such, it has waxed and wained in popularity as presentation fashions have changed in time.  However, the play has an enduring appeal and is a timely reminder of our sense of common humanity.  It is of course a hard hitting call to conscience to be mindful of the less privileged in society and ensure that they can access a decent lifestyle.  It may not be comfortable viewing, but it is compelling theatre with a highly pertinent point to make in our increasingly materialistic society.

Musical, Theatre

Review: The Rocky Horror Show, Venue Cymru, Llandudno by Richard Evans

Leave a comment

Venue Cymru, Llandudno, March 3rd – 8th 2025 and touring

out of 5 stars (4.5 / 5)

Howard Panter for Trafalgar Theatre Productions, Mallory Factor for Hill Street Productions and Rupert Gavin

The Rocky Horror Show has come a long way since it debuted upstairs in the Royal Court theatre in a 10.30 showing in an auditorium seating 60 people.  What is it about the show that gives it a lasting appeal?  Certainly there is a prevailing sense of fun throughout and the music is upbeat and energetic with the signature song, Time Warp having a timeless appeal.  However it is the subversive nature of the story that has seen the show gain its cult following. 

The storyline in one sense is a sideline.  It was never meant to be profound, rather it was a spoof on a long line of 1950’s B-movies that had a sci-fi theme.  A sweet couple having just got engaged break down in their car and seek help from Frank n Furters castle in the distance.  There they enter an alternative reality that shakes their perception of normality to the core.  Of course some of the inhabitants are aliens who take revenge on Frank n Furter who is guilty of having a profligate lifestyle and betraying some of his loyal servants. 

The cast were well drilled, enthusiastic and energetic.  Adam Strong as Frank n Furter was suitably commanding and was ably supported by the sinister Job Greuter as Riff Raff and the ebullient Jayme-Lee Zanoncelli as Columbia.  The choreography was slick and well rehearsed while the set was simple, adaptable and effective.   

The show is narrated by Joe McFadden who was excellent in dealing with the interruptions from the audience.  These have obviously become part of the tradition of the show as they were not only tolerated but expected.  Some of these were funny, sometimes the interruptions were intrusive.  Either way, McFadden handled them well

First produced in 1973, the play picks up on the attitudes that exploded in Britain with the advent of the permissive society.  This was the era of glam rock where people played around with traditional male and female norms and were less afraid of being openly indulgent in their sexual appetites.  To quote, ‘Give yourself over to absolute pleasure’.  Can people really do that without consequence?

Writer Richard O’Brien never expected it to last but shortly after it bombed on Broadway for not being high brow enough, he heard that it was getting cult following on campuses across the USA where students were attending a performance in costume.  A new trend was formed that allowed those of us who were normally constrained by their career driven, family orientated lifestyles could throw off those shackles and go wild for the evening.  

Now that the show is over 50 years old, does it retain its cutting edge?  It is still subversive but has to be slightly more explicit to give that shock factor.  There is also a disconnect.  Having started off with such humble origins, the glitz and glamour of a West End style show seems slightly out of place.  However, that does not detract from what remains a fun filled, light hearted and still slightly shocking show.

Dance, Opera & classical, Theatre

Review: Swan Lake, Imperial Classic Ballet, Venue Cymru, Llandudno by Richard Evans

Leave a comment

Venue Cymru, Llandudno, October 18th 2024 and touring

out of 5 stars (4.5 / 5)

An Imperial Classic Ballet production. Ballet Artistic Director – Katsiaryna Fadzeyeva, Conductor – Nikita Suhik, Concertmaster – Polina Chaika.

Swan Lake, a timeless story that became the standard for classical ballet and redefined the genre.  Would this production continue to entrance the audience as much as the ballet has since its first presentation?

The libretto is well known and at its heart is a love story.  Prince Siegfried is disappointed at his birthday celebration that no suitable bride is presented to him.  After, while hunting he sees some swans by the lake.  He is entranced by the white swan, Odette who insists that she and the other swans are human and have been put under a spell by the evil magician, Rothbart that can only be broken by everlasting love.  In Act 2, the Prince has to choose his bride and eventually sees Odile, Rothbarts daughter and sees an uncanny resemblance to Odette.  In the heat of celebration he confesses his love for Odile, breaking his vow to Odette who watches on from the window.  Once he realises, the Prince returns to the lake to see the grief stricken swans.  He begs forgiveness of Odette and declares his love.  Rothbart challenges him, but love prevails.  

The ballet tugs at the heartstrings throughout taking you through a range of emotions from joy to grief.  This is enabled by Pyotr Tchaikovsky’s moving score.  He pioneered the use of leitmotifs, snatches of music that are assigned to a character and repeated when they appear on stage.  Musically it is challenging.  On speaking to the first violinist she commented that Tchaikovsky composed on a piano, having five fingers available while the violinist has only got four, the thumb being used as a grip.  The orchestra proved the point that dance and music are natural extensions of each other and portrayed the emotions in the ballet really well.  

To perform Swan Lake is difficult, comparable to Sleeping Beauty in its complexity, yet the lead roles are compelling for any aspiring dancer.  There were a series of tableaux illustrating the skills of the dancers which provided ample evidence that ballet makes extremely difficult manoeuvres look effortless.  The part of Odile/Odette is particularly challenging both technically and emotionally yet illustrated that the movement of the human body can be beautiful as it combines grace, poise and strength.  This performance did not disappoint, yet again this dance proved to be compelling viewing  

The ballet troupe and orchestra, in the midst of a gruelling schedule for their national tour were enthusiastic and committed tonight, although my impression is that the emphasis in this production is on demonstrating prowess rather than storytelling. However, this did not spoil what was an excellent and thoroughly recommended evenings entertainment.  

Musical, Theatre

Review: Come from Away, Venue Cymru by Richard Evans

Leave a comment

Venue Cymru, Llandudno July 30th – Aug 4th 2024 and touring

out of 5 stars (5 / 5)

Irene Sankoff and David Hein

Smith & Brant Theatricals, Red Hanger, Gavin Kalin Productions, Tulchin Bartner Productions, Echo Lake Entertainment, Square Peg, Stephen and Paula Reynolds, Fiery Dragons, Judith Ann Abrams/Peter May, Nancy Gibbs, Curve Leicester

Come from away documents a remarkable experience.  As the tragedy of 9/11 unfolded and American airspace was closed, many planes had to make unscheduled landings in far flung places.  38 of them landed at Gander airport, Newfoundland.  

With a population of about 9000, the local community found themselves hosting 7000 unexpected incomers with a range of different languages, customs, medical and dietary needs.  There were also 19 animals including a pregnant bonobo ape.  This was a refugee scenario where the hosts were entirely unprepared.  The days that followed demonstrated the best in human qualities.  Food was drummed up, beds found, activities were organised such that lasting friendships were formed that have been sustained to this day.   

Would the stage be the best place to retell these events or would a film be better?  On the evidence of this performance, the energy and immediacy of the stage is a great platform and the cast exploited this story in excellent fashion.  It was a prime example of ensemble theatre, a close knit team working together in a fast moving, intense drama.  Actors do an outstanding job as they switch roles from hosts to incomers seamlessly and retell these events and their aftermath.  There is a great backing group playing a range of Irish-Canadian melodies to enhance the action. 

The individual stories invoke a range of emotions when you hear them.  Diane and Nick were on the same plane, met and the following year got married.  Hannah was worried for her son, a firefighter in Brooklyn yet was comforted by Beulah who also had a firefighting son.  It is in the minutiae that the poignant moments rest.  A moment when a Christian song, a Muslim chant and a Jewish incantation are heard as people pray, emphasising the importance of faith in coming to terms with life experience.  A scene where an older gentleman reveals to a Jewish rabbi that he had a hidden Jewish background dating from his early life in Poland.  Two people communicating through the use of Bible references to encourage each other when they had no shared language.   

The welcoming nature of this Canadian-Irish community is graphically shown in the ceilidh held one night.  It saw some visitors inducted as honorary Newfoundlanders through ‘screeching in’, drinking a shot of Irish whiskey and kissing a fish, a custom used to welcome new cast members to the show.  This to me is an enduring legacy of a must-see show, the power of community.  Had this town not been as tight nit and warm in its embrace, the experience of the incomers might have been quite different.  As it is, they felt an immense debt of gratitude but in attempting to express this, received a standard response, ‘It was nothing, anyone else would have done the same.’  It was not nothing, it was remarkable.  This makes the show a privilege to watch.  

Film & TV, Musical, Theatre

Review: Jesus Christ Superstar by Richard Evans

Leave a comment

Venue Cymru, Llandudno July 1st – 6th 2024 and touring

out of 5 stars (4 / 5)

David Ian for Crossroads and Work Light Productions with Nederlander Producing Co. UK with Michael Watt presenting the Regents Park Open Air Theatre Production

Lyrics by Tim Rice and Music by Andrew Lloyd Webber

What’s the fuss? Tell me what is happening.  

Telling the story of the last week of the life of Jesus through the eyes of Judas was an original, imaginative idea when this musical was first produced in the early 1970’s.  Would this staging of Regents Park Open Air Theatre’s revival recapture that early promise?  Owing to the nature of this story, this would be a near certainty.  To recreate the crucifixion of Jesus on stage, if done well, can not fail to be dramatic and this production adds plenty of imagination to this already thought provoking musical. 

The cast attacked this story with elan, Luke Street who played Judas in this performance was suitably moody and filled with angst.  The moment when he took the payment for his betrayal was done very well.  Ian McIntosh as Jesus grew into his role and provided some stand out moments especially as he was praying in the Garden of Gethsemane shortly before his arrest.  Strangely though, Jesus is portrayed as a vulnerable man who is struggling to come to terms with his fate throughout the play.  However, aside from his episode in Gethsemane, Jesus was in control and walked knowingly towards his fate, scathing to those who attempted to deflect him.  

The choreography was well planned, purposeful and added to the drama.  The set put the cross at the centre of the production, although it was odd that the chief priests walked on an instrument of torture that in Biblical times was a symbol of being cursed.  They would have been ritually pure therefore would never knowingly touch such an instrument of death.

The musical is stuck in a time warp to some extent, the music and lyrics resonant of the early 1970’s and since then some of the stories concerning Jesus are less well known.  It would help to have a good working knowledge of these biblical events.  However, it was great to hear this score once again as some of the songs have become favourites for many.  Hannah Richardsons rendition of ‘I don’t know how to love him’ and ‘Everything’s alright’ were beautiful.   

It is easy to see the play is not without its problems including the logical flaw in its premise.  Telling the story through Judas’ eyes is an intriguing idea, but of course, he was not around to see the crucifixion having already killed himself.  He is the side story.  The power in this story is not the actions of Judas, but what happened to Jesus.  Even then, crucifixion in itself is not significant.  It  is just another, particularly grisly form of execution.  One Roman commander crucified 500 people in one day.  He would have killed more but ran out of wood.  It is the death of Jesus that is significant and it is what happened to, and about Jesus after his death that makes this any story at all.  To give Judas a sort of equal billing as Jesus after their death, sitting down together in the afterlife as the last scene depicted seems very strange.  

However, we should not let factual relevance get in the way of a good story and this remains a striking piece of theatre that brings more awareness of the death of Jesus to the general public.  While it may not be doctrinally sound to those who profess faith, it avoids being offensive as some other plays or films have been.  The first time I saw the play if became a memorable experience.  This too will stay in the memory for a while.