‘Jesus Christ Superstar’ (The King’s Theatre Glasgow) | Review By Rebecca Donati

‘Jesus Christ Superstar’ is a contemporary wonder.  Timothy Sheader directs this mesmerizing new production of the iconic global phenomenon, Jesus Christ Superstar which comes to Glasgow King’s for one week only! Starring Julian Clary as Herod*, Ian McIntosh as Jesus, Shem Omari James as Judas and Hannah Richardson as Mary. Originally staged by London’s Regent’s Park Open Air Theatre, this reimagined production won the 2017 Olivier Award for Best Musical Revival.

Ian McIntosh as Jesus was captivating. McIntosh’s performance was spellbinding, commanding the attention of the audience. He struck a wonderful balance between the serenity and the conflict of the character. McIntosh’s body language was particularly convincing through the thirty-nine lashes, amplifying the horror of his sacrifice. McIntosh vocally was astounding. His control mixed with his ability to switch styles in an instant belting out rock style riffs blew audiences away.

Shem Omari James as Judas gave an excellent soul bearing performance. Omari James’ portrayal of Judas’ dedication to his belief was outstandingly compelling. His emotional journey was paced to utter perfection leading him to play his character’s role in the condemning exceptionally well.  Omari James has some killer pipes, however, the nature of the off beat tempo seemed to challenge him at times – in turn causing his annunciation to appear muffled.  

Hannah Richardson as Mary was perfection. Kindness and loyalty radiated off of the character due to the creative decisions Richardson had made in terms of body language and facial expression. Richardson amazed audiences with her vocal ability during her rendition of ‘I Don’t Know How To Love Him’. Richardson’s approach to the character allowed the inner turmoil of the characters inner thoughts to race to the forefront during her enthralling performance. 

Julian Clary as Herod is a joyous watch. Like Antipas he made the most of this opportunity.  Clary’s camp depiction brings a wonderful lightness to an otherwise darkly driven production. Clairy describes his interpretation of the role best when he describes it as follows: “I’m thinking Putin meets Cleopatra with a hint of Biggins”. A stellar performance of which the audience lapped up every moment.

Ryan O’Donnell captured the weak willed nature of Pilate, his portrayal of his inner conflict was exceptional – making the condemnation even more powerful as conformity led Pilate to the choice of crucifixion.  O’Donnell’s approach to the character felt like a modernistic rebel, almost bohemian – he commanded authority however this bad boy attitude created an extremely interesting character as his role and responsibility was to maintain law and order. 

Matt Bateman as Annas and Jad Habchi as Caiaphas played the roles of the high priests exceptionally well. Their depiction of the higher powers was eerily captivating. Their opposing vocal ability was beyond exhilarating for the ears creating some exceptionally powerful moments throughout the performance. Both performers were completely committed to their characters, completely inhibited and moreish. 

The ensemble was breathtaking, they moved as one body displaying extreme discipline and control. Their dedication to the bursts of energy within the choreography and direction drove the tension throughout the performance. The stamina of the performers was exceptional, maintaining a tense anticipation. The creative decisions of each performer was eye capturing – within the full ensemble there was never a lack of creative interest. 

This production is helmed by director Timothy Sheader (resident director Alli Coyne)  and choreographer Drew McOnie (resident choreographer Christopher Tendai). The direction and choreography of the production is really what sets it apart – the contemporary movement style uses bold imagination and repetition to create the dramatic tension. The set designed by Tom Scutt adapted from the open air version appears simple yet effective – though it feels almost slightly cramped at times on stage with such a large cast. Despite its simplistic appearance the multifaceted set is extraordinary.  The lighting design by Lee Curran really gives the production an edgy and agitated atmosphere. The use of spotlights and bright whites gives an expected but powerful radiance to the crucifixion. The musical director Michael Riley and the band have quite the task throughout this musically driven story and they absolutely smashed it out the park with their beautifully performed rendition of Andrew Lloyd Webber’s smash hit.

Despite the exceptional performance of the actors and band something still seemed lackluster about this version of Jesus Christ Superstar. Though the score is iconic, at times the repetition feels complacent and unnecessary. The pacing of the performance feels slightly off-piste meaning if you had no prior knowledge of the last six days of Jesus Christ you may find yourself getting somewhat lost among the chaos. 

‘Jesus Christ Superstar’ is an outstanding production which hosts an array of exceptional talent. Expectations are high entering any theatre for a production as renowned as this and for the most part your expectations are met.

‘Jesus Christ Superstar’ is performing at The King’s Theatre Glasgow until the 21st of October 2023. Get your tickets here: https://www.atgtickets.com/shows/jesus-christ-superstar/