The 2016 multi-award-winning Regent’s Park Open Air Theatre production of Jesus Christ Superstar now begins the 2024 leg of its UK tour at Leicester’s Curve, not that many weeks since the venue staged its own production of Evita, another Rice / Lloyd Webber classic.
Last weekend, Ralph Fiennes caused a ripple in the media pond on BBC One’s Sunday with Laura Kuenssberg as he questioned why theatres put out trigger warnings before performances, saying, "the impact of theatre should be that you're shocked, and should be that you're disturbed, I don't think you should be prepared for these things.”
Jesus Christ Superstar is of course no stranger to triggers or controversy, with accusations of sacrilege when the original concept album was released in 1970, and in the years since.
There is a dark, menacing edginess to this production. Even the few lighter moments in “Herod’s Song”—as Timo Tatzber camps it up as a high-heeled Herod wrapped in gold lamé—still crackle with discontent. Tom Scutt’s design is one of contrasts: heavy metal bars forming multiple, solid, immovable crosses and platforms versus fluid harem pants, hoodies and tunics. Power comes in black capes, biker boots, bursts of gold glitter, and sinister Roman mask helmets.
Hoodies and trainers are a good fit with Drew McOnie’s street, urban choreography; the ensemble who flock and pulse give the performance significant energy. Staying true to the “gig” vibe, there's a festival grunge look and feel with the mic and mic stands the main props. There is also a sense of an oppressed people, of an uprising, and of events quickly and tragically spiralling out of control.
Lee Curran’s lighting design consolidates divisions with softer tones for the quieter, spiritual moments and glaring beams for torment and those in power.
Depicting the last week of Jesus’s life as told through Judas’s eyes, Shem Omari James is a tortured, brooding Judas, particularly impressive and with superb range in “Judas’s Death” although sadly, some of his vocals got lost in the sound balance in a couple of other numbers. Ian McIntosh portrays Jesus as bewildered by his superstar status and uncomfortable with the adoration; his realisation of his fate during “Gethsemane” is powerful and poignant.
Hannah Richardson’s Mary is the balm to the chaos, her rich vocals adding smoothness and contrast to the more frenetic rock numbers. Ryan O’Donnell as Pilate, emblazoned with Roman-themed tattoos, black eye liner and leather boots, shows his dilemma until he caves in to the crowd.
Jad Habchi as Caiaphas and Matt Bateman as Annas are imposing leaders of what appears to be a rather scary boy band, The Pharisees. The ensemble mesmerise with their full commitment to the frantic pace of much of this show, some joining the on-stage band on percussion and guitar (superb musical direction too by Michael Riley).
Andrew Lloyd Webber’s emotive score still has significant impact and this production breathes new life into this fast-paced interpretation of the Passion. With Ralph Fiennes's words in my mind, this is an uncomfortable watch, inevitably because of the subject matter, but Tim Sheader's direction handles key moments theatrically rather than gratuitously.