What’s the buzz, tell me what’s a-happening?
What’s the buzz, tell me what’s a-happening?

Ah, the atheist in me would love to hate Jesus Christ Superstar (JCS), however, it being the show I made my stage debut in makes it a little special instead. It also helps that Jesus’ apostles are portrayed as apathetic and full of self-important belief. In fact, the real protagonist is Judas who spends the show banging his head against a brick wall, trying to remind Jesus what he and the disciples should really be about.

Basic plot — the last week of Jesus’ life, and the fight for his destruction by the Jewish authorities. There is no spoken dialogue, the story being told though music and lyrics with no breaks. But JCS works in this format, flowing seamlessly from one number to the next with a good rock vibe from Andrew Lloyd-Webber’s original score. Okay, some of Tim Rice’s lyrics are questionable at times (Jesus calling Judas, a Judas?) but overall, it is plotted well.

Leading the show as Jesus was Ian McIntosh who I last saw as Galileo in We Will Rock You. Equally as strong now as he was on that occasion, McIntosh’s delivery of Gethsemane was one of the strongest performances I have seen in any musical theatre number. Not so much, Shem Omari James in the role of Judas. Jesus’ betrayer is meant to be forceful, and I was not convinced. With poor diction, I struggled to understand James and felt the show dropped on each appearance. Outstanding though was Hannah Richardson as Mary, performing I Don’t Know How to Love Him. Equally so during the fight with Christ was Ryan O’Donnell who came into his own during Act Two as Pilate. This is good as Pilate’s Dream during the first half is the weakest song in the show.

As the gravelled-voice Caiaphas we had Jad Habachi with Matt Bateman playing the scheming Annas. Both led their team well, especially during This Jesus Must Die. However, I found Herod’s Song terribly dumbed down and the performer not even credited in the programme. Yes, I know it was originally Julian Clary (who now thinks it more important to do panto), but for heaven’s sake (no pun intended) credit the actor taking on the role.

There was a lot to like about this production, but I still found it needlessly arty at times. On the one hand, enjoying the busker/hippie vibe of Jesus’ followers, but then at odds with the strange throwback to the 1970s film imagining of the priests. An excellent band led by Tom Deering was in a gantry on stage for all to see. A nice touch, but I found Drew McConie’s choreography rushed on occasions, seeming to run out of ideas as if performers were given the instruction, we haven’t got time to do more complex moves, so just wave your arms aimlessly. Directing was Timothy Sheader and although there was much to enjoy, I still found my attention wandering. Maybe if I had been more captivated, I might not have noticed that Jesus appeared to be crucified on a speaker stand. And then there was 39 Lashes where instead of being whipped, the crowd threw glitter over Christ instead. The biggest let-down though was Judas’s Death where there was no hanging, but the dropping from a height of a power cable. A simple but effective set from Tom Scutt included a large cross which doubled as a walkway and Last Supper table at times. However, this was positioned so far stage left that anyone in the first half dozen seats on that side could not see it.

Overall, I’m sure most went home happy after this Regent’s Park Open Air Production, but frankly, I’ve seen better from Am-Dram companies.

Cheers.

Antony N Britt

* Photos Taken from Social Media.