Creation Theatre's reincarnation of a medieval passion play begins with a modern twist.

Traditionally passion plays were often staged outdoors in the market square, so Creation begins its production in Oxford's Market Square - no, not Gloucester Green, but a new space at Oxford Castle. It's a clever idea, but it does slow the early stages of the performance. An initial whirling dance in the square is followed by a queue to get into the main performance area - with tickets being checked, and rather officious admonishments delivered about a ban on photography. There was a slight feeling of a security line at Heathrow.

Once seated, you are introduced to disciples Thomas (Jonathan Baker), Peter (Tim Crowther), Judas (Owen Oakeshott), and Andrew (Gary Trainor). Thomas and Andrew come over as amiable, but not terribly bright (in Thomas's case perhaps to explain his doubting nature). Peter is the one who argues back, at one point actually telling Jesus to shut up.

"You can't tell the Christ to shut up," comes the reply, quick as a flash. But as in Jesus Christ Superstar, it's Judas who has the meatiest role among the disciples, and Oakeshott makes the most of it. It's obvious from the body language that this guy is going to be trouble. The two Marys (Caroline Devlin and Natalie Garrett) come over as strong characters too, and provide a curiously hilarious scene as they discuss their respective pregnancies. As in medieval times, there is also a lively community chorus to provide angry crowds, and sing Peter Lole's Godspell-meets-Ennio Morricone choruses - these were a bit unfocused at Tuesday's press night, but will no doubt sharpen up as the run progresses.

Tom Peters's Jesus, pictured being greeted by palm-waving crowds, is a hoarse-voiced, hyper character, seemingly lacking in self-confidence. "I can't do this on my own," he tells his disciples, adding: "Are you with me? Is that a yes? Because that yes' was awfully quiet."

As events move on, through various miracles and the confrontation with Pilate, you wonder if he might go mad before the Crucifixion.

Director Charlotte Conquest uses Lizzie Hopley's highly colloquial script, in turn is based on a fresh translation of the New Testament by Nicholas King, of Campion Hall, Oxford. At times Conquest lets the pace flag dangerously, but nonetheless the production as a whole blazes out with a commitment that does credit to all concerned.

The Oxford Passion is at Oxford Castle until September 8. Tickets: 01865 766266 or www.creationtheatre.co.uk