Apologies right at the start of this review, but sadly I am unable to credit anyone by name. The only programme available was by QR code, and since I do not have any facility to be able to access this, then without a physical programme, I am at a loss. A short note about QR programmes. I understand the need to "save the planet" etc, and in essence I applaud this decision, however, when we are always being reminded that the use of mobile devices is forbidden within the theatre during the performance, how are we to access the programme for reference? We certainly need something to refer to throughout - tangible to hold and see. And furthermore, programmes make excellent keepsakes and memorabilia for cast / crew and audience too.
This was a concert version of the famous Lloyd-Webber / Rice collaboration which unbelievably first came into being in 1971 (and I remember it doing so....!). We were warned about there being a continuous high volume of noise throughout, although the volume was not the issue, it was the balance of sound which was not correct this evening sadly. The large orchestra - MUMS (Manchester university Musical; Society) - played well throughout, and I have heard them play in this venue many times before. They needed no amplification. However, the performers (UMMTS - University of Manchester Musical Theatre Society) were sometimes mic'd and sometimes not, and even when mic'd the balance was very poor. Audibility passed the first couple of rows was almost nothing for the unmic'd singers, and even when using microphones, we had difficulty understanding or hearing clearly. This was a real shame, since the students were obviously talented, and had put much time and effort into creating these roles, and if we cannot hear the fruit of their labours, it was a little disappointing.
The orchestra was conducted by two young female student conductors, one for act 1 one for act 2. However, in my humble opinion, the orchestra seemed to respond better to the second. Whilst with the idea of using majority black costumes in various forms and guises for the cast the whole 'look' of this show was very monochrome. It felt a little more like a rehearsal than a performance since there was hardly any show of colour at all.
The actor portraying Judas was excellent. A very sensitive performer and obviously a proficient singer too. His character arc was excellently measured; a sympathetic and genuine actor. The whole cast including the ensemble were all credit-worthy, and the direction (mise-en-scene) and choreography (such as there was in a concert version was excellent) - although there needed to be a bit more light on stage, especially on the rear door when used in the second act. I enjoyed the pairing of bass Caiaphas and mezzo-soprano Annas. Annas did not necessarily need to be a male role, and yet this actress's body language and whole demeanour changed considerably for this role and it worked nicely. I also enjoyed the ideas of a saxophone-off during 'Damned For All Time'. This working well in the context of a concert rather than the actual show. But of course, the showstopping number / routine was - as it usually is - 'Herod's Song'. Here a little bit of colour was added to the black costume by a flowing gold robe, and this actor even had a tap dance together with the conductor half-way through this song. It unsurprisingly garnered the biggest applause. UMMTS obviously have a large group of very talented actors / performers, and I would love to be able to see them perform a musical properly, this did not showcase either their talents - nor indeed the musicians of MUMS - quite nearly enough. It was an entertaining and well-thought out production, but had the sound been more acceptable it would have been much more enjoyable.
REVIEWER - Alastair Zyggu
on - 3.4.25
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