Now on its umpteenth resurrection in fifty or so years, “Jesus Christ Superstar” comes to the Grand in Wolverhampton in this very sombre and earnest production from Regents’ Park. The stark set inevitably dominated by a cross is cloaked in darkest from the outset and peopled with gray and black clad actors. We don’t see a fleck of colour till Act Two. The first ten minutes or so has a feeling of grudging obligation which slowly modulates into something more engaging. Of course, it’s splattered with well-known tunes throughout, and each is dutifully deployed under Michael Riley’s tight musical direction with Hannah Richardson as Mary giving us a beautiful rendition of “I Don’t Know How to Love him”, which, as musical aficionados love to point out, bears more than passing resemblance to Mendelssohn’s Violin Concerto in E Minor. Go listen. You’ll soon be singing along.
Of course, this is an early show for both Rice and Lloyd-Webber and what it shows off in song it loses it dramatic structure – with nearly all the main plot points occurring in act two and a surprising lack of names checked for those not familiar the story which I guess in the seventies was less than today. It purports to offer a secular view of Christ who, as Rice points out, “was just the right man in the right place at the right time.” Perhaps a somewhat flippant attitude which drove the religious right to picket the theatre. There’s also one or two whisps of outdated seventies language which have outstayed their welcome.
Ian McIntosh is cool as Jesus and Shem Omari James provides support as the double crossing Judas with a stunning death scene. Other parts, as they say, were played by members of the company proving a refreshing diverse cast and a vast array of voices and people.
Timothy Shearer’s direction shepherds it all together with aplomb and creates some sizzling moments. But the undoubted star of the show was choreographer Drew McOnie (if it’s possible to be a star in a show and not even be there…) with a plethora of detailed and engaging choreography which not only embellished the story but provided us with a series of physical motifs and pervasive images which resonate long after the last notes have been sung. And two very striking ideas for Judas’s piece of silver and Christ’s whipping.
It’s certainly worth seeing to witness the show which was once the longest running in the west end and one of the best selling albums ever. and the audience certainly prised it with a standing ovation.
Reviewer: Peter Kinnock
Reviewed: 14th November 2023
North West End UK Rating: