Meanwhile, here's what Daily Post Arts Editor Philip Key thought
JERRY SPRINGER: The Opera uses lots of rude words, rude suggestions and features rude people. But it is not only one of the funniest shows you are likely to see, but one of the most intelligent.
Writers Stewart Lee and Richard Thomas, with the latter also composing the music, have created a genuine opera based around the low-lifes on Springer's television confession programme.
Here, as with the genuine show, are the sad-sacks with sexual problems willing to parade them in public.
What makes it so different and so much fun is the use of operatic voices and devices: there is something quite delightful about filthy language and dirty ideas being given the posh treatment.
It is very much a show of two halves, the first an operatic spoof on Springer's show, the second with Springer in Hell, a comic debate about Christianity.
It is this section which created the row - the show opened with someone (possibly genuine) being bundled out shouting that it was "an absolute disgrace" - but on closer examination it is pretty tame. The Devil wants an apology from Jesus, Springer is forced to act as game show mediator, and there is a lively discussion on the rights and wrongs of good and bad. Hardly the stuff of blasphemy.
The show supplies some good tunes, amusing characters and quite a bit of silliness. Rolf Saxon, the only cast member who speaks rather than sings, captures the Springer mannerisms perfectly with Johan Pearson (in a non-speaking or singing role) doing the same for security man Steve.
But the show really survives on its ensemble cast, operatic choruses (often using the F-word), straight-faced performances using "unusual" material and a splendid orchestra under Dan Jackson.
Those with broad minds, a sense of humour and a love of music will have a good night.
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