The story of the last few days of Jesus's life is well known. Or is it? It certainly used to be, and way back in the early 1970s when this rock opera first hit the stage, Andrew Lloyd-Webber and Tim Rice knew they did not need to tubthump or signal the story any more than they did. But times have changed, and youngsters today will probably have difficulty in following the story as it unfolds in this somewhat adapted and reinvented modern take on this classic show. In fact, those who already do know the story, need to concentrate! But that is my only negative criticism of this fast-moving, sincerely told, Superstar for the 21st century.
Set against a composite set of lighting rigs, sound equipment, microphones, and travelling cases for said equipment, there lies a large fallen cross creating the centre-piece and crux (forgive the pun) of the set design. The band are on stage, and this creates different levels for the cast to utilise. Combine this with creative and moody lighting, and already you are half way there to immersing yourself in this theatrical experience.
It starts well, but it is the ensemble in this production which truly sets it apart from the rest. The choreography is jittery and frenetic, and yet it never seems too much or out of joint. Their togetherness and coordination is exemplary, and then, just to prove they can, they stand stock still and deliver the sweetest sounding harmonies mezzo piano. It is just lush.
Ian McIntosh takes the onerous role of Jesus. At the start there seems to be little emotion or energy in him, but he knows what is to come, and so his calm and acceptance somehow worked. It was only in the second act did he truly shine though, when we were able to see the man, the mortal, fighting for survival, pitted against the inevitable course of heavenly intervention. Vocally he was able to deliver the goods and then some. The role requires a true rock voice, his screeching was perfectly pitched and safe, whilst the falsetto soared and the chest voice resounded.
For this reviewer, Shem Omari James was a rather disappointing Judas, failing to really embody the role or the vocals. Hannah Richardson too was not as convincing a Mary as I have previously seen, and her solo, " I Don't Know How To Love Him", was oddly lacking in true emotion.
However, Jad Habchi as Caiaphas and Matt Bateman as Annas were excellent. The juxtaposition of their different vocal ranges (tenor and bass), and their wheedling and menace made for a truly formidable duo. Ryan O'Donnell's quiet entrance in act one as Pilate brought the hairs on the back of one's neck to stand on end, and his stand-out solo in act two equally well measured.
This is certainly a rather monochrome show... the costumes, set, and whole mise-en-scene takes only small deviations from beige. But this is a highly stylised production, full of imagery and allegory. We even have a tableau of "The Last Supper" in there too! And the production itself sits half way between a rock concert and a stage show. Hand mics are used throughout and many of the songs are sung as if to the audience in an arena tour!
Reimagined and updated for the contemporary era it certainly is, and, like Marmite, you will either love it or hate it! But Timothy Sheader's vision is clear, consummate, and unfaltering, and bravo to the entire company for their tireless energy and total commitment.
Went on 29th to see J C superstar at Alhambra. Not seen it before, but my partner had. I was so disappointed.
ReplyDeleteNo speaking. Some singing that amounted to shouting, all in hoodies,
Dancing in a tiny area like a group of Zombies, one good singer and song Mary M.. we left before the end, deafened, plus we couldn't hear the words, too loud for any clarity. Also the stage props/scenes were dismal.
No room for anything. Cannot recommend this version. Jill
Judas was very poor , difficult to understand anything he was singing , too much noise and very little style actually spoilt it . The rest were very good , and I thought the girl singing Mary Magdalene was excellent
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