Bath Light Operatic Group have kept to a mainly classic form in performing the Andrew Lloyd-Webber/Tim Rice musical Jesus Christ Superstar.

The mass dancing and, in particular, a slightly fussy set and old-fashioned costumes have the feel of the 1970s, which is when the rock opera was first staged amid allegations of blasphemy because it made Jesus a superstar, not a deity, and sympathetically considered Judas’ betrayal of his master.

It’s hard, now, to recall the exact details of the controversy stirred up by the show more than 40 years ago but it’s easy to recall the catchy songs – from the upbeat Everything’s Alright to the title song Superstar.

The group, on the whole, managed the difficult feat of making the lyrics clear and comprehensible, essential to an understanding of the story of Christ’s last week on earth, even though the broad outline of events is well-known.

Joanna Finlay, as Mary Magdalene, had a particularly fine and clear voice. Her rendition of I Don’t Know How To Love Him was well sung. Rob Dallimore, as Jesus, also had a good voice, although I am not sure about the falsetto he sometimes adopted.

Steve Bean succeeded in giving a sympathetic portrayal of Judas and the scene in which Judas dies was one of the best.

Here the lighting was very effectively used to cut out most of the stage and to focus on Judas as he swung from a rope: one of the most moving parts in a production which, while enjoyable, did not totally engage the audience’s emotions.

Another highlight was Geoff White’s rendition of Herod’s Song. White adopted a camp tone and got the best out of the comic lyrics. Sadly, my enjoyment was marred by the woman sitting next to me. Part way through she got out her phone, which mercifully was on silent but the light was nevertheless distracting.

After much fiddling around, she eventually stood up to try and take a photograph. When asked to switch it off, she hid it so that the light was not shining into my eyes – it was a relief when it finally switched itself off.

It broke the magic of the musical and is a distraction no theatre production – actors or audience – should have to endure.