Jesus Christ Superstar

by David Vass · Photo: the Theatre Royal 8 April 2024

Jesus Christ Superstar is such a well-established musical, that it's worth taking a step back for a moment to reflect on its extraordinary narrative. Here's the story of a man whose rebellious teachings have stirred up trouble with the authorities, something only his closest ally, Judas, seems to appreciate. Rather than take sound advice and lay low, he makes things worse, before falling victim to the machinations of established religious leaders and the political expediency of the ruling Romans. All the while, Judas looks on, sees it all coming, before being entrapped in a master plan that requires him to betray all he holds dear. It makes Life of Brian look like a nativity play.

It's a moot point how much if that came across in this latest touring production. Tim Rice's intricate and subtle wordplay requires concentration from the audience and good diction from the performers, neither of which were encouraged by the full-on rock opera treatment director Timothy Sheader corrals his cast and musicians into giving. It comes as no surprise that this production was originally performed on an open air stage - there were times where even the Theatre Royal felt too small a space to contain the energy and dynamism that blasted the audience back into their seats. It also meant a single stage set up, albeit one that was impressively lit and imaginatively populated, dominated by a huge, cruciform walkway, around, and on top of which, the performers navigated with commendable skill. Representing the elephant in the room, it was a rare concession to religiosity it was otherwise a brutal forum in which the drama played out.

Ian McIntosh was fine as the tired, lacklustre Christ that Webber and Rice reimagined. Laconically wandering around his followers, brilliantly choreographed by Drew Mconie, he had the air of a man working out his notice, while Shem Omari James's Judas got all the best lines. Without the benefit of hindsight, and the gospels, Judas sees his friend's mission imploding to be replaced what looks and feels like a death wish. McIntosh evokes are sympathy for Jesus, while James's natural charisma evokes our empathy. Ryan O'Donnel was outstanding as Pilate, the small town, small minded bureaucrat that doesn’t want blood on his hands. Luke Street only got one song as Simon, but still managed to showcase one of the finest voices of the night, while, Jad Habchi and Matt Bateman steered just the right side of pantomime in their demonic portrayal of the Pharisees.

So - I'm thinking all this as the Temple scene takes place and Jesus is surrounded by crucifix wielding merchants, and I start to wonder how much of this will come across to anyone less familiar with the narrative. I think it again, when Jesus is suffocated with those seeking salvation, or in the Garden of Gensemaine, or when Judas's swinging mike stands in for his hanging corpse. In the spirit of full disclosure, I should say I had the musical drummed into me when I was a kid, my Dad having played it ad nauseam, so I'm perhaps not the best judge of this production's coherence. I strongly suspect most of the audience came along with similar baggage. We know the music, we know the words, so if some of the depth and subtlety is lost in translation then blanks can be filled in. Does it even matter if the blanks stay blank? The crowd whooping and applauding didn’t seem to mind.

There's no denying this was a musical and visual spectacular to satisfy the most jaded of palates. In writing this, I've had to wrestle with the jumble of songs now roaming my brain as conflicting ear worms do battle. It may be showing signs of its age – when was the last time you asked what’s the buzz – but that's no mean feat for a show that is over 50 years old. I just wish the production had taken the time to explore the poignancy and reflection that I know is buried in the text, not least because the production showed in its closing moments that sometimes silence can be the most powerful noise of all.