The new production of the musical Jesus Christ Superstar now on at Bromley’s Churchill Theatre until 2nd March sparkles!. Hence the use of the word ‘effervescence’ in the post title, prompted by our post-show summary of the audience reaction: absolutely bubbling. Or perhaps, this being the Bromley Buzz, absolutely buzzing. What also impressed is that perhaps the most excited element of the audience was the decent contingent of young people, rather than those – and there were quite a few – with memories stretching back to the roots of the show at the start of the 1970’s.
For a depiction of the last days of Christ set to music – for a whole religion, the execution of the son of God – to sparkle was quite an achievement. Also for a long-established show like this to feel so very fresh and vital, and visibly enjoyed by its pleasingly large cast.
Here, we can bring in some input from fellow audience members who we met and spoke with in the mid-show break. One of those with a longer memory, Sandra of Bickley, said, “This is very cleverly staged, the choreography is very innovative. They have maximised the use of the stage and items such as microphones as props.” Katie and Jackie from Bromley were briefer, saying, “It is really good!”
Meanwhile, fellow critics near us on the night commented, “This is a very different interpretation.” For us, it was a gripping theatrical experience. One laced with sorrow. How could this story have even happened? We could agree with Jesus pleas, “Let the world turn by itself tonight.” And, yes, he was right, “Why are you so obsessed with fighting?” One of Director Timothy Sheader’s greatest achievements in this show was to convey so starkly how Jesus, apparently surrounded by his own tribe, his disciples, was at key times just so very sadly and completely alone.
Different interpretation or not, this production hasn’t stinted on personnel. A full, powerful live band, plus ensemble – rather a lot of splendid, at times ecstatic dancers whose choreography beautifully complemented the songs – plus the lead performers. Rock, Funk, ballads, Jazz and Blues shot through the soundtrack of the night. Not to mention the three Gospel-style backing singers who appeared at intervals and added to the experience.
Jesus (Ian McIntosh) was magnificent, displaying a vocal range that suited vocals first voiced by Ian Gillan of Deep Purple fame. Herod, Timo Tatzber, in for Julian Clary, was as gorgeously, extravagantly camp as his stand-out part deserved. Mary (Hannah Richardson) sang and acted beautifully, and soon we knew we were in for a treat every time she took a solo, or duetted with Jesus
The songs were handled with aplomb, from the leads through to the deeply-voiced Pharisees, notably Caiaphas (Jad Habchi) and Annas (Matt Bateman). One singer – clearly a vocal talent all the same, struggled with clarity of diction, so it was hard to understand too many of their words – but this was an exception. Meanwhile, Jesus’s rendition of ‘Gethsemane (I Only Want To Say)’ absolutely Rocked, Then there were the exceptionally beautiful ‘I Don’t Know How To Love Him’ and, of course, ‘Superstar’, reminders of why this flew off the shelves as an album before the musical existed.
A good musical is the sum of many parts: songs and singing, score, lyrics, set, costume, acting, emotion, makeup (the look of tortured Jesus was a painful triumph), and spectacle. This is a fitting combination furthering a musical phenomenon that has passed fifty years and shows no sign of stopping.
For the picture illustrating this blog post, we’ve chosen a relatively plain image to not give away the most impressive visuals: they are best seen in person. This show, about a man who didn’t take Caesar’s advice to stick to fishing, is often dark and moody, but it is far from plain. Go and see it in all its glory!
Darren and Jacqui Weale, 28th February 2024
Bromley Buzz 