I’m embarrassed to admit that before this week, I had never heard of JESUS CHRIST SUPERSTAR. My mother’s reaction – ‘whaaattt’ – pretty much sums up everyone’s horror at this fact. However, I was repeatedly assured that this musical was fantastic and beyond imagination.
And boy, was she right.
I’m not one for religious retellings, but this was no simple retelling; it was a renovation: keep the foundation, rip out the excess baggage and embellish with modern and relatable touches. The Tim Rice/Andrew Lloyd Webber musical, a concept album that almost wasn’t produced or put on stage, has seen many incarnations. Still, by all accounts (according to the excited and hurried whispers of the women seated next to me), this production is very different.
The Swansea Arena lights go down, replaced by orange glowing spotlights and a minimalistic, industrial-style stage design by Tom Scutt. There’s not much to look at except metal scaffolding on which the live band appear and a utilitarian, cross-shaped raised platform that tilts forward and leans to one side. The whole aesthetic is jarring, and I’m immediately questioning how this is a musical about Jesus. Suddenly, a low and ominous rumble pervades the stage, coupled with electric guitar riffs and ghostly noises from a synthesiser. It starts slow, but before long, the instruments are playing at a pace, and the ensemble dances their way across the stage, enacting angular and contemporary moves.
I’m thinking, “YES, this is unlike anything I’ve seen before,” while simultaneously wanting to get my groove on – although I did spend the first half wondering who was who. So, for those like me who haven’t a clue, Jesus Christ Superstar depicts the events preceding Jesus’s crucifixion, drawing inspiration from the Gospels but adding its own interpretation. It delves into the interpersonal dynamics among Jesus, his disciples, the Jewish community, and the Roman authorities. Particularly emphasised are the strained relationship between Jesus and Judas Iscariot and Jesus’s connection with Mary Magdalene.
The opening song ‘Heaven On Their Minds’, sung by Judas (LUKE STREET), sets the stage with lyrics begging the audience to think about what they know about Jesus Christ – “If you strip away the myth from the man, you will see where we will all soon be” and “Jesus… you’ve started to believe the things they say of you. You really do believe this talk of God is true!” For a contemporary audience familiar with public figures buying into their own hype, this is a wonderful way of bringing the Jesus Christ narrative to life, especially since Jesus (IAN MACINTOSH) is surrounded by touchy followers, grabbing, and pulling for his attention.
This translation of the Christ story into modern challenges continues throughout, but instead of glorifying Jesus’ deeds and vilifying Judas, both characters are movingly humanised. Jesus battles with spreading his message and accepting his untimely death, while Judas, in his conviction that he’s doing right, struggles with the reality of “betraying” Jesus. I use air quotes because, in this production, Judas questions Jesus’ actions and highlights the weaknesses and misguidedness of the human spirit. He’s the voice in the back of all our heads asking if what we’re doing is right.
Without giving too much away, ‘Gethsemane’ where Jesus belts, “Why I should die” and “Can you show me now that I would not be killed in vain? Show me just a little of your omnipresent brain” is a smash hit. You could hear a pin drop at this point. Hats off to the lighting, their choreography here is spot on as the room goes dark except for six or so massive white spotlights dancing across the room, representing a divine-like presence. This innovative storytelling begs the watchers to question their own actions in life and journey to be a better person.
Another highlight is the crucifixion scene – it’s not in your face but shrouded with mist and blinding light. Once again, it’s personal, quiet, and deeply moving, allowing each individual audience member to think about their own actions in life and beliefs regarding Jesus Christ. Was it right for him to die? If I was there, would I have supported this good man or joined the mob beating him for differing beliefs?
I can’t finish this review without mentioning Mary (HANNAH RICHARDSON), whose rendition of ‘I Don’t Know How To Love Him’ left me in tears. She naturally sings like an angel, but the emotion and heart that went into her performance left me fidgeting in my seat. It’s uncomfortable to watch love be complicated and messy. Your heart breaks for those on stage.
But that’s kind of the point with this production. Everything leaves you questioning what you know about Jesus Christ, his myth and life, and how that applies to your own circumstances. It sounds heavy-hitting, but it’s actually a night full of colourful lights, smashing songs, epic dance numbers, and a few funny moments.
If I had to recommend one musical this year, it would be this innovative production of Jesus Christ Superstar! It’s fun but also thought-provoking – just the right blend for a religious retelling!
JESUS CHRIST SUPERSTAR is at Swansea Arena through to Saturday 6th. Performances are at 7:30pm each evening with a 2:30pm matinee on Wednesday and Saturday. For details and tickets, go HERE.
There’s an age guidance of 10+ and the show contains mature themes and depictions of violence.
You can read more on that, along with some JCS facts in our original show feature HERE.
