Jesus Christ, Superstar
Heaven on Their Minds
Jesus Christ, Superstar
music by Andrew Lloyd Webber, lyrics by Tim Rice
Regent’s Park Theatre Company at the New Victoria Theatre, Woking until 8th June and then on tour until 17th August
Review by Heather Moulson
Although I saw this great rock opera many moons ago, I was prepared to watch this vibrant piece with fresh eyes. The curtain rose on a simple set that housed musicians and a cross catwalk centrepiece. Boldly lit and led beautifully with passionate movement by Jasmine Jules Andrews, and Judas’ haunting Heaven on Their Minds, the ensemble’s What’s the Buzz created a tight tension, as it introduced Jesus and the devoted Mary Magdalene. Judas naturally had a lot to carry with his conflicting views and frustration, and Shem Omari James carried this reverently with a high pitch of energy and vocal skills … And anger.
Charismatic Mary Magdalene, played by Hannah Richardson, had genuine tenderness and sang Everything’s Alright in a clear singing voice. Jesus is torn between these two dominant figures plus his energetic disciples. Although Ian McIntosh gave a polished performance, he took time to grow into the Messiah’s role
The menacing presence of the dark disapproving ensemble singing This Jesus Must Die brought up the momentum a notch higher. The excellent Caiaphas, played with by skilled baritone Jad Habchi, enhanced this powerful group, which included Stephen Lewis-Johnston as Annas, Francis Foreman, Darius J James and Timothy Roberts. They worked as an imposing force and cast just the right shadow, with their slick orbs cum microphones
Hosanna and The Temple were iconic stand out numbers and carried along the general excitement of this rock opera’s pace.
The bold set was designed by Tom Scutt. Props were minimal and very effective, particularly with the striking neon crosses.
Mary Magdalene brought pathos with the tender ballad I Don’t Know How to Love Him, and a tone of sheer regret in Could We Start Again, Please? Judas’ reward for his betrayal of Jesus was presented by Caiaphas with a treasure chest full of silver powder in which the betrayer’s hands were coated; very clever and symbolic.
The last supper was poignant and Roman masks were used chillingly at Jesus’s arrest. The ensemble’s clothes, a clever combination of gym gear and harem pants, were equally striking as they donned white robes braying for Jesus’ crucifixion.
As genuine brutality was administered Jesus’ bloodied effects were highly authentic. The crucifixion itself from a raised catwalk was emphasised once again by the effective lighting designed by Lee Curran. An unforgettable climax had Judas leading the classic song, Superstar.
In Act Two, the cross-catwalk was put to better use, as one felt the disciples were limited by their stage left space in Act One. Although one must appreciate Drew McOnie’s superbly detailed choreography, it did seem restricted.
Herod’s song was still a great favourite and performed beautifully by Timo Tatzber, but why did he dress like a Rocky Horror character? And Pilate, a charismatic Ryan O’Donnell, have garb like a rock star figure? Romans and kings had many splendid gowns of that period. Plus did Jesus really need that baseball cap that hid his reactions at the start of a highly significant story?
Directed in astonishing detail by Timothy Sheader who covered every possible aspect of this energetic two hours. The impressive band was led by Grant Walsh, and was augmented by the haunting soundscape, designed by Nick Lidster.
Even if you saw this great production the first-time round, do give it another look.
Heather Moulson, June 2024
Photography by Paul Coltas
Mark Aspen 