Music by Andrew Lloyd Webber

Lyrics by Tim Rice

Directed by Timothy Sheader

Review by Annie Aslett

Tickets from £21.50

The gritty, industrial staging for Timothy Sheader’s revival of the iconic Jesus Christ Superstar feels alive with the promise of religious revolution; a provocatively-upside-down cross forms a raised stage, smoke surging from its metal grate, as performers swarm from the side of the stalls to begin this tale of faith, fame and fate. As the first guitar Felix Stickland performs the musical’s iconic overture from the scaffolding unit that houses the live band on stage, the atmosphere in the theatre is electric. This production of Tim Rice and Andrew Lloyd Webber’s rock opera has been touring the UK since September 2023 and returns for a second run at Glasgow’s King’s Theatre on 3rd August.

Jesus Christ Superstar tells the story of the Passion, the week leading up to Jesus’ death on the cross. It follows Jesus and his disciples during this time, spotlighting the character of Judas, his motivations and misgivings, as he fears the noise of Jesus’ following and the repercussions this may bring from the corrupt ruling class in Rome. Biblical spoilers ahead: Judas betrays Jesus’ location to the Pharisees and priests, leading to his capture and crucifixion. Rice and Lloyd Webber’s story paints this as a misguided attempt to save Jesus from himself, portraying Judas in a much more sympathetic light. This more nuanced depiction of the Bible’s ultimate villain meant that the show initially failed to receive backing for a stage production. The irrepressible duo decided instead to release a concept album, garnering great success, and the show was finally put on Broadway in 1971.

The musical has seen many iterations since then; Sheader’s revival began life in 2016 at the Regent’s Park Open Air Theatre in London. This version draws heavily from the rock-inspired score and designer Tom Scutt runs with this rockstar theme from staging to lighting to costume design. The ornaments of a rock concert adorn the stage: microphones, mic stands, live instruments, eyeliner and leather jackets. Rice and Lloyd-Webber’s songs require powerful rock voices, and this cast cranks the dial to eleven. The unwavering vocal performances are elevated with sumptuous growls; the transcendent, belted high notes walk the line between musical theatre and heavy metal.

The cast of this touring production has remained largely the same since its first outing, and the confidence that this has imbued in the seasoned performers is palpable. Hannah Richardson makes Mary’s parts her own, as her subtle changes to notes and tempo elevate this performance from your run-of-the-mill Mary; a sign of Richardson’s growth with her character after almost a year in the role. Her sumptuous vocal quality is the balm to the grittier tone struck by the rest of the characters.

Jad Habchi and Matt Bateman make a scintillating duo as Caiaphas and Annas, the priests; Habchi’s bass notes are a thundering foil to Bateman’s precisely controlled tenor. The design of these characters in this production is inspired; extravagantly decorated in ceremonial robes and leather harnesses, wielding long religious staffs that are inverted to form microphone stands, accompanied by their fellow priests in precisely choreographed movements that echo both the uniformity of religious ceremony and the body-rolling synchronization of an (admittedly very eccentric) boyband.

Ryan O’Donnell is a master of acting through song as Pilate, who must fight between the demands of the people – find Jesus guilty and execute him – and his conscience and fear for his legacy. The gravitas and emotion that O’Donnell brings to the stage, whilst delivering a growling, rich vocal sound, is pitch perfect in finding the balance between the rock concert theming of this production (singing into hand-held mics, performing towards the audience, characters playing live guitar) and the storytelling through song that is essential for live theatre. In contrast, this quality felt diminished in the production’s two leads, Ian Mcintosh as Jesus and Shem Omari James as Judas.

Where the rock concert staging is so well executed for some characters, this same concept slightly hamstrings our protagonists. These two characters lead the bulk of the songs, often performed mic-in-mic-stand, towards the audience. This leads to a lack of connection between the characters on stage; what should be a fraught and passionate breakdown of a complex relationship, at times, feels cold. While both actors deliver outstanding vocal performances, this is not always matched by their expressions. In the first act, Mcintosh’s version of Jesus appears laidback; tracksuit and cap aside, the man supposed to lead a group of devout followers can feel subdued rather than inspired. A sympathetic reading says that Mcintosh is representing Jesus’ weariness as his faith falters after so many years of leadership and struggle; a more jaded view says that Mcintosh’s acting fails to pack the same punch as his vocal quality. He finds the right balance during the show’s most iconic song, Gethsemane, vocally and emotionally nailing Jesus’ anguish. Though his depiction of Jesus at times is understated to the point of nonchalance, Mcintosh’s delivery of Jesus’ vocal score is truly one of the most incredible live vocal performances on stage today.

Equally, Shem Omari James as Judas has a stunning voice; his vocal acrobatics are otherworldly, his idiosyncratic choices elevate Judas’ songs and he performs them all with ease and control. As with Mcintosh however, James’ stage presence occasionally leaves the performance hollow – the titular Superstar track, performed by Judas after his suicide and an opportunity for Judas to question where Jesus went wrong, should be a showstopper. James’ vocals are faultless and the dancers bring passion and energy, but James feels disconnected from the character and the audience. Contrast this with Jordan Michael Todd’s turn as Simon, standing in for Luke Street tonight, who is vibrant from the word go, brimming with personality and charisma while delivering a very Xtina-inspired vocal. Despite only having one song, Todd is stage-presence personified.

Todd forms part of the dynamic ensemble cast of Jesus’ disciples and followers, thrilling in their performance of Drew Mconie’s organic and spirited choreography. Mconie’s choreography is full of religious imagery; the performers frantic with religious fever, seem to move as one organ as they worship at Jesus’ feet. The cast creating a frozen tableau of Leonardo da Vinci’s ‘Last Supper’ is a highlight. Mconie not only nails the thematic core of the musical, but the energetic movements smack of a choreographer with a deep appreciation for Lloyd Webber’s music, the statement chords and melodies of the iconic songs embedded in the movement of the dancers.

This is Jesus Christ Superstar as it should be; a goosebump-inducing score performed by incredible talents, elevated by vivacious choreography and transformative design. Don’t miss this production at King’s Theatre from 29th July to 3rd August.

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