JADAR

★★★☆☆

Jesus Christ Superstar: A divine musical crucified onstage!

Andrew Lloyd Webber’s rock opera, Jesus Christ Superstar (JCS), remains a cult classic in the musical theatre canon. With lyrics by Tim Rice and a powerful score by Webber, it first hit the stage in 1970, forever altering the landscape of musical theatre.

The excitement was palpable in the auditorium, as fans eagerly awaited the latest production of this iconic show, directed by Timothy Sheader. Known for its rock-infused score and dramatic narrative, JCS has inspired fervent devotion among its followers.

This particular rendition, led by Ian McIntosh as Jesus, offered some breathtaking highs and disappointing lows.

McIntosh’s portrayal of Jesus was nothing short of spectacular. His performance was emotionally charged, capturing the anguish and humanity of Jesus with a raw intensity that left no eye dry during his rendition of the song ‘Gethsemane.’ The power of his voice and the depth of his acting were truly remarkable, making his Jesus both relatable and divine. McIntosh’s bravura performance is one that will be remembered, and it set a high bar for the rest of the cast.

Sadly, the same cannot be said for Shem Omari James’s portrayal of Judas. James, known for his role in Dreamgirls first-ever UK Tour, brought a lifeless energy to the role. His performance lacked the emotional complexity and vocal clarity necessary for such a pivotal character. Judas is integral to the narrative, and James struggled to convey his internal conflict and turmoil. His singing could be difficult to understand, making it difficult to follow the plot through his perspective, which is particularly disappointing given that this production aimed to highlight Judas’s side of the story.

Hannah Richardson as Mary Magdalene brought a touch of magic to the stage. Her voice was enchanting, and her chemistry with McIntosh was palpable. Richardson, who previously starred in Sting’s The Last Ship, delivered a performance filled with grace and emotional depth, especially in her tender rendition of ‘I Don’t Know How to Love Him.’

Timo Tatzber’s brief but flamboyant appearance as Herod added a much-needed dose of humour and spectacle, while Ryan O’Donnell’s convincing portrayal of Pilate brought a sense of conflict that enriched the production.

Jad Habchi as Caiaphas and Stephen Lewis-Johnston as Annas, the high priests who condemn Jesus to death for blasphemy, delivered standout performances that were both hilarious and compelling. Their dynamic presence onstage added a layer of dark humour and intrigue to the production, showcasing their exceptional acting skills. Their ability to balance gravitas with comic timing brought a unique and memorable dimension to their roles, making their scenes some of the most engaging and entertaining of the evening.

The choreography by Drew McOnie was another highlight. The dancers’ energetic performances were a feast for the eyes, adding vibrancy and dynamism to the show. Their movements were perfectly synchronised with the music, enhancing the emotional impact of each scene.

On the other hand, the staging left much to be desired: dominated by a cross laid across the stage, it felt underwhelming, especially considering the high ticket prices. The decision to place the solo guitarists, pianist, and conductor onstage occupied valuable space—albeit understandably so given the Lowry’s lack of orchestral pit—that could have been better utilised for more elaborate set pieces.

Sheader aimed to present the plot with the feel of a concert, which perhaps explains the decision to have the solo musicians onstage. This approach was evident throughout the production, as Jesus was frequently seen with his guitar, adding a modern, rock-star aura to his character. Judas sang into a handheld microphone and engaged directly with the audience, breaking the fourth wall and enhancing the concert vibe.

This stylistic choice underscored the rock opera roots of JCS and helped position Jesus as the ultimate superstar, the central figure around whom all other characters revolved. The concert-like staging choices, such as the musicians being integrated into the set, further emphasised this theme, making Jesus not just a religious figure but a larger-than-life rock icon, commanding the stage and the audience’s attention. This creative direction brought a unique energy to the performance, aligning with the show’s original rock opera spirit and making Jesus truly the star of stars on stage.

The costumes were adequate, but opinions varied among the audience. Overhearing conversations, it was clear that many attendees loved them, highlighting the subjective nature of costume appeal. Apart from Herod’s flamboyant attire, the costumes were rather simple. With Judas clad in black leather and Jesus in light colours, there was a lack of symbolic play or creative use of colour.

Despite these shortcomings, the second half of the show redeemed the evening. Audience members, some of whom considered leaving after the first act, were glad they stayed. The energy levels soared, and the narrative gained momentum, culminating in a gripping and emotionally charged finale. The use of glitter during Jesus’s whipping scene added a dramatic flair, and the lighting design was nothing short of spectacular, creating a visually stunning backdrop that elevated the performance.

While the first half of the production merits a mere two stars, the second half deserves four, largely thanks to McIntosh’s stellar performance. Balancing these extremes, the overall verdict for this production of JCS is a three-star rating. It had moments of brilliance that were somewhat overshadowed by notable flaws, but it remains a compelling experience for fans of the musical.

This reimagined production, originally staged by London’s Regent’s Park Open Air Theatre and winner of the 2017 Olivier Award for Best Musical Revival, continues to captivate audiences despite its imperfections. The operatic nature of the musical, with no spoken words and a plot carried solely by songs, remains its unique strength.

While this production attempts to emphasise Judas’s perspective, it ultimately falls short, with Jesus remaining the dominant character throughout. Nonetheless, the combination of McIntosh’s unforgettable performance, Richardson’s enchanting presence, and the dazzling choreography ensures that Jesus Christ Superstar retains its place as a beloved classic.

Jesus Christ Superstar runs at the Lowry (Lyric Theatre) until May 25 and tours the UK until August 17.

Photo: Paul Coltas