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The rock opera musical is resurrected and touring the UK this summer. Expect remarkable voices, innovative details and lots of glitter.Summary
Rating
Excellent
Jesus Christ Superstar was first released as a concept album in 1970. Following the album’s success, the musical premiered on Broadway a year later. Next the show took on the West End in 1972, and since then, it’s had numerous runs and tours around the world. It’s difficult for any musical with an extensive history to revive itself in a fresh and exciting way, but this tour has managed to do so.
Designed by Tom Scutt, the set consists of a giant cross platform lying diagonally across the stage, which the cast dance up and down. The only issue is that the New Wimbledon Theatre stage is too small, and at times when the full ensemble is present, it feels overcrowded. This will obviously change throughout the tour though as they perform at different theatres. The band are placed on a mezzanine floor and this double-storey setup is utilised well, particularly for Judas’s eventual death.
As one of the most demanding scores to perform, the singing from both the leads and ensemble is exceptional. In his portrayal of Jesus, Ian McIntosh delivers a commanding performance, particularly in the monumental song ‘Gethsemane’. Hannah Richardson’s Mary Magdalene is captivating, with a clear voice full of resonance and her ‘I Don’t Know How to Love Him’ earns well-deserved enthusiastic applause. But it’s Shem Omari James’ Judas who steals the show: his rendition of ‘Damned For All Time/ Blood Money’ is superb, especially with the added vocals from high priests Caiaphas (Jad Habchi) and Annas (Matt Bateman).
At times the lighting, designed by Lee Curran, creates the shape of a cross above the cast. Additionally, spotlights are often used to highlight moments that would have otherwise gone unnoticed on the cramped stage. In one scene, members of the ensemble carry illuminated crosses against a backdrop of low lighting, creating a visually interesting contrast.
The choreography by Drew McOnie is sometimes questionable, but generally works well. The sequences with the Roman priests are the most effective: they march in, dancing with their spears, but when they rotate the weapons, the audience are surprised to see microphones on the end. Another cleverly staged moment is the recreation of Michelangelo’s painting during the Last Supper scene, where the disciples are posed identically.
Throughout the show there is a recurring theme of audio equipment, reinforcing the feeling of a rock concert. This is emphasised by the cast carrying microphones. In ‘The Trial Before Pilate’ when Jesus is whipped, microphone cords resemble ropes and are tied to his wrists. These wires are long enough that they extend offstage in both directions. Moreover, in the culminating Crucifixion scene, Jesus is hoisted up on a deconstructed speaker and mic stand.
A brief but camp appearance from Julian Clary as Herod provides a much needed release from the heavy narrative. Wearing a gold cape, with a waistcoat and trousers resembling a ringmaster, Clary gives an energetic performance that is whimsical and lively. This is the most eye-catching costume as most of the cast wear contemporary clothing, including hoodies and baggy trousers in muted, earthy tones.
Clever symbolism, such as gold dust representing the whips in ‘Trial Before Pilate (Including the 39 Lashes)’ and Judas’s stained silver hands signifying his betrayal, enhance the depth of this production, and it’s these innovative details which elevate the quality of the show. With impactful lyrics sung by an exceptionally talented cast, the resurrection of this musical classic is unmissable.
Lyrics by: Tim Rice
Music by: Andrew Lloyd Webber
Directed by: Timothy Sheader
Musical diretion by: Michael Riley
Choreographed by: Drew McOnie
Designed by: Tom Scutt
Lighting Designed by: Lee Curran
Costume Supervisor: Poppy Hall
Jesus Christ Superstar tours the UK until August 2024. Further information and tour dates can be found here.
