Review: JESUS CHRIST SUPERSTAR, Newcastle Theatre Royal - Tour
Photo credit: Paul Coltas
When it first opened in 1971, Lloyd Webber and Rice’s Jesus Christ Superstar was revolutionary – a rock opera, performed by an exquisite group of musicians, telling the final days of Christ. In 2023, Tim Sheader’s Regent’s Park production’s tour proves that it still has much to say.
The set is simplistic yet effective; the main stage space itself is dominated by what appears to be a tumbled crucifix, embedded within the stage floor and lying at a 45-degree angle, creating a causeway upon which much of the action occurs. At the moment of the crucifixion, this structure is rotated to lie head-on towards the audience, ensuring a stark final image of the crucified Jesus, backlit by spotlight, hanging from the crossbar of a lighting truss strapped to a speaker pole. In fact, much of the design is reliant upon the very theatricality itself, and no attempt is made to hide the technical workings – the towering scaffolding is supplemented by flight cases which create a stairway off to stage left, with the band all visible across a variety of levels, and mic stands are integral props. The show seems to have returned to its roots, with contemporary costume reminiscent of Burning Man festival goers and very meta use of musicality itself creating a sense of ‘gig theatre’.
These muted, flowing costumes on Jesus and his acolytes directly contrast with the very definitely ‘rock’ regalia of the Pharisees, led by Jad Habchi’s gravelly Caiaphas and Matt Bateman’s wonderfully slippery and nasally Annas. Their entrances are always a particular highlight, marching on in sombre fashion, clad in leather and chains, mostly topless, but then rotating their staffs to become their microphones in a performance style reminiscent of The Drifters or The Four Seasons. This contrast is particularly notable in ‘Hosanna’, as they loom over the celebrants.
Sheader’s direction, and particularly Drew McOnie’s choreography, for the ensemble is definitely an intriguing choice – repetition of motifs, such as the covering of eyes or mouths, in ever-growing numbers, creates a definite sense of unity amongst the group, although at times there is a chorus leader slightly over-egging the movement in a distracting manner. The movement in key sequences such as during ‘Heaven on their Minds’ and ‘What’s the Buzz’, as the acolytes arrive to praise Jesus, or ‘Hosanna’, as they rebel against the Pharisees, give a very definite sense of a Big Tent revival; this 2023 production, as much as the original in the early 70s, is interested in celebrity culture and fandom, and the sense of hysteria is palpable.
As Jesus, Ian McIntosh brings a tenderness and vulnerability to the role. His higher register is absolutely crystal clear, and his performance in ‘Gethsemane’, in which he also plays acoustic guitar live, is absolutely spellbinding; reminiscent of James Arthur in the heyday of the X Factor, the entire focus is on him and you can hear a pin drop – when he throws himself backwards, out of the spotlight, it is reflective of the duality of Jesus the ‘performer’ and a rare moment of seeing Jesus, the individual. In contrast, Shem Omari James’ Judas wears his heart on his sleeve at all times, and the anger and fear that resonate through the lyrics of ‘Strange Thing Mystifying’ are palpable. His ultimate betrayal, at the end of Act 1, sees him marked for the remainder of the show, up to his elbows in silver paint, having his hands thrust into the chest containing the figurative 30 pieces of silver – an effective metaphor. Judas’ suicide is another potent moment, using the imagery of the microphone, with red wire, to great effect, and his lead vocal in ‘Superstar’ is magnificent.
‘I Don’t Know How to Love Him’ is a sensational moment and in the role, Hannah Richardson’s vocal soars, as the somewhat curtailed Temple scene breaks apart to reveal a desperate Mary Magdalene. Ryan O’Donnell’s Pilate commands the stage in his interactions with Jesus, approaching him with mic in hand, trailing the wire behind him like a true rock star. The desperation with which he beseeches Jesus to speak plainly is stirring, and ultimately it is McIntosh’s adamance that leads to him being sent before Herod. The 39 lashes are performed with an interesting twist, using glitter tossed onto the already bloody Jesus, while Caiaphas and Annas loom above and create the soundscape of the whip.
But what of Herod? Sheader has suggested in interviews that Herod has always been coded as queer. And its true that the role needs to be played with a queer energy – the show needs this moment of camp respite, following the heartbreak of the betrayal and before the disturbing scenes of the lashes and crucifixion. But Julian Clary just doesn’t quite hit the right note as Herod – the role needs to tread a fine line, balancing camp and cruel. Often, ‘stunt’ casting of non-musical performers is used for Herod, such as Chris Moyles in the Arena tour, but here, Clary seems to be on an extension of one of his stand-up routines, with acerbic asides tossed about freely, and not all of them land; “I’d rather talk to a dead cat”, he opines at one point. Meanwhile, the “aren’t you scared of me Christ?” is undermined by him twiddling what looks like a foam machete and his backing dancers soft-shoe whilst wearing bloodied dinner plates around their necks.
This is a minor pitfall of the otherwise exceptional and thrilling production, though. The music remains are exciting as ever, and having the opportunity to spotlight musicians during solos, such as the guitarist going into ‘Blood Money’, further contributes to the sense that this is not just a musical, but a rock gig. Whilst the use of handheld mics might not be to everyone’s taste, it does remove some tenderness between Mary and Jesus in “Everything’s Alright”, for instance, leaving the application of myrrh to ensemble members instead – it adds to the sense that this is proper ‘event theatre’. And the attention to detail, at the opening of Act Two, as the disciples recreate Da Vinci’s Last Supper is, though fleeting, goosebump-inducing.
What’s the Buzz? Jesus Christ Superstar is still a relevant, thrilling hit 50 years on.
***** Five stars
Reviewed by: Scott Edwards
Jesus Christ Superstar plays at Newcastle Theatre Royal until 30 Sept, before continuing its tour. To book tickets for select touring venues, please click here.