Directed by Timothy Sheader of Crazy for You and Into the Woods fame, comes the latest production of Andrew Lloyd Webber’s smash-hit musical Jesus Christ Superstar. The nearly two-hour-long spectacle stars Ian McIntosh as the titular Jesus, supported by Omari James’ Judas, and Louise Francis as Mary, replacing Hannah Richardson as Jesus’ leading-lady for the performance on 22 April 2024. McIntosh was a powerhouse from start to finish. Smouldering away, guitar in hand, the Bieber-fication of Jesus was a strangely welcome take for a role that often glazes over Jesus’ obvious heartthrob status in favour of greasy hair and bare feet.

One of the tour’s strongest assets of the Jesus Christ Superstar tour is undoubtedly the stellar performers that make up the show’s ensemble. Channelling their best interpretative dance skills, the group were an exceptionally talented bunch. It felt as though anyone on that stage could have picked up the mantle of any part, putting in performances of biblical proportions.

The industrial set, consisting of a series of interlocking steel crucifixes, emphasises the urban aesthetic of not only Jesus’ hoodie and the disciple’s joggers but the production as a whole. Alongside its inherent versatility, the almost building-site-like aesthetic connotes the idea of the production constructing the legacy of Jesus, in the shadow of the symbol of his fate. Alongside the Christian figurative symbolism, the upper balconies, slotted among the steel beam crucifixes, harboured the sound mixer and electric guitarist, who remained a constant and exciting presence throughout the show, adding to the feeling of it being a Bible-based rock concert. Adding to this, the slanted crucifix catwalk which lay adjacent on the set, added to the visual dynamism of the staging, prompting priests and apostles to strut along it as it steamed and glowed.

Unsurprisingly, everyone’s favourite musical number did not disappoint. Timo Tatbzer commanded the stage as the brutal King Herrod, presenting a ferociously flamboyant rendition of ‘King Herod’s Song’ that certainly wasn’t for the faint of heart. Surrounded by his subjects, with their bloodied heads resting on plates and apples donning their mouths, Tatbzer’s gloriously exaggerated song and dance was a tour de force. Herod is such a tricky character to get just right, yet Tatbzer’s rendition felt freshly unique amongst such an iconic character canon. Featuring a memorable Ru-Veal and stunning disco ball leotard, Timo Tatbzer is a Herod for the history books.

The High Priests are masterfully portrayed by Jad Habchi and Matt Bateman, clad in gold jewellery and black silk that hangs off their exposed flesh. The enigmatic and shadowy priests arguably commanded every scene they inhabited. With an insignia on one end, and microphone on the other, they firmly grasp their gold staffs as they spin them around to momentarily transform from high-camp culty to high-camp rock opera. Caiaphas (Habchi)’s signature bass, which vibrated through the steel beams and artfully punctuated respective numbers, consolidated the characters, performances, and costume design, as something more befitting the deserts of Arrakis than the stage of Andrew Lloyd Webber.

One of the show’s most creative decisions was the choice to replicate Jesus’ 39 lashings through the use of a slapstick paired with handfuls of glitter slashed across Jesus’ writhing body. This non-literal display felt slightly comical at first, reminiscent of the skin of a certain killer memorably played by the ever-regretful Robert Pattinson. As the sequence finished, the sight was striking. The glitter played amongst the stage lights beautifully, highlighting the gorey makeup that consumed McIntosh’s body as he endured such suffering. The glitter remained until the end of the performance, emulating the brutal yet transcendent themes of Jesus’ final days.

The creative direction of having Judas (Omari James)’s hands plunged into a chest of silver by a fleshy priest, and emerge with dripping liquid guilt running down his arms, was an innovative invention of this production. The character’s desperate and futile attempt to wipe away the silver, which stains his hands for the remainder of the show, imbues the production with oozing Lady Macbeth style nutrients, and presents a contextual comparison to connote the extent of the character’s culpability.

There are many moments within Jesus Christ Superstar that vary greatly from production to production in their execution and efficacy. One of these is Judas’ death. This production decided not to show Judas committing the act, yet instead, symbolised his hanging through the dropping of a microphone from the rafters, which swung back and forth through the rest of the performance. Although this may not have provided the shock-factor that many productions seek, the ever-present nature of this prop served as a lasting reminder of Judas’ emotionally conflicting narrative, and the tragic nature of Jesus Christ Superstar’s closing act.

Christianity has endured for over 2,000 years, and with a production as innovative, talented and interesting as this, there is no reason why this smash-hit musical cannot match that. Had the second-coming occurred last night, Jesus would have undoubtedly been delighted to perceive his enduring legacy, cemented in Shakespearan imagery, RuPaul-style reveals, multi-functional staffs, Edward Cullen sparkles, and interpretive dance recitals of Biblical proportions. Amongst these elaborate components, the supremely talented cast, creative, and technical team, deserved the unanimous standing-ovation they received in delivering a wholehearted, witty and profound production.

After the show, we were lucky enough to receive a short interview with Pontus Pilot (Ryan O’Donnell) whilst waiting for our Uber:

Alex Taylor (Editor-in-Chief): Pontus Pilot!

Ryan O’Donnell (Pontus Pilot): Hello!

Alex Taylor (Editor-in-Chief): You were great!

Ryan O’Donnel (Pontus Pilot): Thanks!

Jess Parker (Print & Features Editor): You were sick!

Ryan O’Donnell (Pontus Pilot): Cheers! *Thumbs up*

Ryan O’Donnell seemed very nice.

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