Review by Paul Towers, 12/2/24
Jesus Christ Superstar lyrics by Tim Rice, music by Andrew Lloyd Webber
Directed by Timothy Sheader
Produced by Crossroads Live and Work Light Productions
At Curve til Saturday 17th February 2024
“a loud, brash heavy rock opera”
Way back in 1971 Lloyd Webber and Rice, young upstart musical theatre composers, innovatively released a concept album of their rock opera based on the last week of Jesus before his crucifixion. Told from the perspective of Judas and his disillusionment of the Messiah’s teachings, it has taken until now for the full horror of those days to be fully explored on stage. Previously productions tended to be sanitised for general consumption but this touring version is the Regents Park Open Air Theatre production which played to great acclaim in 2016.
The set is an industrial arrangement of girders and boxes with a live band seated up on both sides. There are two crosses, one up against the back wall and another laid down centre stage. The lighting by Lee Curran is almost a character in its own right.
While the story may be as old as the hills (or the bible) director Tomothy Sheader, designer Tom Scutt and choreographer Drew McOnie have laid the emphasis on the cult-like devotion of the acolytes and followers who seem to be caught up in a mass hysterical adoration of the Jesus figurehead. The extraordinary ensemble of dancers/singers ululate as if mesmerised, swaying and repeating the same phrases over and over.
As Judas Shem Omari James (an awesome voice) narrates much of the story and is, of course, Jesus’ eventual downfall. Hannah Richardson’s Mary has the most memorable song, I Don’t Know How To Love him which is also reprised, tellingly, by Judas at the end. While Pilate (Ryan O’Donnell) is the main villain it is Timo Tatzber’s outrageously camp androgenous Herod who brings a touch of pantomime baddie to the stage.
While every single one of the actors have faultless vocal talents it is Ian McIntosh’s Jesus who brings the house down with an extraordinary singing voice that leaves the audience breathless.
It has to be said that this production is not for the faint hearted. The second half is especially harrowing as the brutality is ramped up to the actual crucifixion. Ultimately this is a loud, brash heavy rock opera.
Very few tickets left so grab one quickly
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