Tim Rice and Andrew Lloyd Webber were at the top of their form when they wrote Jesus Christ Superstar.

They had tested Biblical waters previously with Joseph and the Amazing Technicolor Dreamcoat and then went for the jugular with their full-on take on Christ’s Passion.

There are so many barriers to surmount when putting on JCS. Will the classic tunes get the oomph they deserve? Can the staging be epic enough? How to do Jesus? This week, the Oxford Operatic Society has scaled those heights and more. Amateurs? Pah!

Every element has fallen successfully into place. Director David Crewe was guilty of massive understatement when he told me: “A good production for me is when it has been well thought-out and then technically executed.” At one point, I counted 55 cast members on the Playhouse stage. The fluidity of movement was awesome. Which brings into play the extraordinary professionalism of choreographer Joanne Cook, whose sixth time this is working with society. Musical director is Julie Todd, who conducted an exuberant and spot-on accurate band in the pit.

Lloyd Webber’s music has come in for much criticism over the years, and in the case of his later shows justifiably so. In JCS, there is constant invention, bright swings of tempo, subtle use of sound. I watched the first half from the fifth row of the stalls and, moving to the circle for Part Two, enjoyed the quality of musicianship a touch more. The keyboard and guitar playing were particular strengths.

David Staines as the Superstar brought out all the characteristics the part calls for: an inner strength, translating to an understandable fearfulness as the inevitable end draws closer and then a (quite literally) tortured acceptance of that fate. His solo Gethsemane was most movingly sung, with tremendous vocal control.

Judas Iscariot is put centre stage by Rice/Lloyd Webber, and Duncan Blagrove delivered the desperation and misery of the character beautifully — he has a fine singing range. Alex Williams put on a bravura showing in the (almost) comedy slot as King Herod, leading his team of raunchy singers and dancers in true Cabaret style for their one big number shortly before the Crucifixion.

Above all, I was seriously impressed by Chilina Madon as Mary Magdalene. She has a lovely voice and a soft, yearning acting style. The big song of the whole show is, of course, hers, and I Don’t Know How To Love You was quite beautifully done.

On Monday’s first night, the audience was hurrying out of the theatre as I arrived because of a false fire alarm. I would urge lovers of true musical drama and splendid production values to hurry into the theatre for the remainder of the run.

Until Saturday. Box office telephone 01865 305305 (www.oxfordplayhouse.com).