26 June 2024 I 19:30 I Lyceum Theatre, Sheffield
⭐⭐⭐⭐
Reaching the final stops of it's 50th anniversary UK tour, Jesus Christ Superstar proves itself in monumental legacy, reimagining the Lloyd Webber classic with fiery integrity. Upon second watching, my experience of the show remains, occasionally disoriented to the relevance of characters and plot points. Though in a rock concert impassioned revival, abandoned storytelling is not crucial to deliver showstopping performances led overwhelming sensation.
Fixating on a very narrow period of biblical history, the final week before Jesus' crucifixion, a contemporary dance led production doesn't aid in making sense of the musical's setting. Nonetheless, Drew McOnie's choreography is the shining star of Sheader's vision, calling upon frenzied yet well considered movement to equate the story's intensity. Confidently led by Jasmine Jules Andrews as Mob Leader, the energy consumed by the entire ensemble is insatiably spirited, ultimately becoming everything that we will remember about such a punchy adaptation.
Starring as Alternate Jesus Christ, Charlie McCullagh defines his status as one of my all-time favourite performers. The magnetism McCullagh holds is outstanding, the essence of grief so raw. From Gethsemane to enduring the 39 lashes, he unlocks an entirely new perspective of Jesus, a dejected pain that invested my empathy much more than my previous visit. It becomes increasingly hard to watch, signalling an insanely believable horror from McCullagh.
Opposing as Judas, Shem Omari James does not fail to knock me back into my seat with tremendously powerful vocals. As told through Judas' eyes, James performs the betrayal with contemplative layers, taking impassioned lyrical work from Tim Rice. The imagery of silver paint marks guilt upon his skin, irreversible damage that serves a reminder right up until final moments.
Hannah Richardson's Mary conveys a really gentle empathy, exquisite through solo work and finding new ways to impress me. Her characterisation juxtaposes remaining roles, a refreshing take where I crave to know more of Mary's story. Complimenting her isolated numbers, Tom Scutt's set design of scaffolding creates a hollow feeling, showcasing a heightened transparency where secrets, lies and relationships are thrust into an unforgiving space.
Timo Tatzber has once again captured the childish corner of my heart as King Herod, exuding campy and crazed power. The instant smile on my face the second Herod's Song starts, we are seated and in for a treat!! Additionally to Richardson's Mary, I wish we could see more from this duo, stunning in smaller performances. The interjection of lighter orchestrations give exactly what the musical needs as tone lifters. An onstage live band is led with force by Musical Director Grant Walsh, adapting to tempo changes that flow in whirlwind speeds.
Poppy Hall's grungy costume aesthetic is visually dynamic, with looser fabrics and faded tones to reflect dejected emotion. Though a contemporary intention with hoodies and jogging bottoms fails to make sense within the industrial concept. Especially in scenes mimicking the robes of The Last Supper, religious anachronistic visuals cannot ground a consistent style.
Remaining at four stars, Jesus Christ Superstar is forcefully impactful, albeit minor inconsistencies within design work to fully realise Sheader's vision. However, this current tour has left me intrigued in the strength of theatre unlike anything else, the exact reason that drew me back for a second visit. Adaptation aside, this musical exudes randomness, enjoyably riveting regardless of the confusions where I would love to return in years to come.
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