Jesus Christ Superstar – at The Lowry

Jesus Christ Superstar indeed.

I loved it. Absolutely loved it.

Hoping for a more sophisticated, somewhat less basic lead in to a blog post review of my theatrical experience of a production in the Greater Manchester area?

I choose childlike exuberance on this occasion.

My regular reader will be more than au fait with the probably tedious caveat of me not being a big fan of the ‘musical’ genre, whilst making it my business to lean into any art form with an open mind, an appreciation for talent, separating out my own preferences.

You won’t be surprised to learn that I didn’t watch the ITV talent show, Superstar, which searched for a new lead of a previous incarnation of the show because…me.

Apologetically, and as a rule, Andrew Lloyd Webber musicals are generally not my bag. However, curiosity and a determination to embrace experiences less travelled and challenge my own stubborn ‘wills and will nots’ as I get older, are.

(The exceptions to this are learning to drive, Michael McIntyre and canned tuna. I cannot, and I must not.)

So whilst I was not really doubting that I would be leaving the theatre with an experience that was impressive, professional, polished and of high quality, I was not expecting to take with me an open-mouthed enjoyment from curtain up, right until the final notes rang out. Reader, there was smudged mascara.

Dramatic? Possibly. A statement that I might have taken from a dyed-in-the-wool musical-lover with a pinch of salt and cynicism? Maybe. True? Abso-flipping-lutely.

Jesus Christ Superstar is a sung-through rock opera with music by Andrew Lloyd Webber and lyrics by Tim Rice.

Set during the final weeks in the life of Jesus Christ, it reflects the rock roots that defined a generation, the legendary score including ‘I Don’t Know How to Love Him’ and ‘Gethsemane’.

Loosely based on the Gospels’ accounts of the Passion, the work interprets the psychology of Jesus and other characters, with much of the plot centered on Judas, who is dissatisfied with the direction in which Jesus is steering his disciples.

This ‘Regents Park Open Air Theatre’ touring production, directed by Timothy Sheader, is astounding from start to finish.

My head must have been firmly rooted in quicksand of my own ignorant making (weird phrase, there), to have not given it a moment’s consideration previously.

At its core is the 1971 chart-topping album of the same name, a rock-opera from Andrew Lloyd Webber and Tim Price, charting the final five days of one Jesus Christ. Originally nobody was lining up to stage the score as a musical, because…well Jesus Christ the musical. But upon hearing it, producers came a-knocking and, not without controversy, did it become the seminal show it now is, astounding audiences for over 50 years.

Now I didn’t know all this. And now I care to know all this because I had the good fortune to witness for myself, this reimagining of the production. And now I want to know it all.

From the opening strains of the electric guitar, and the grandiose, brooding set, dominated by two crosses, one laid out, one overseeing proceedings bedecked with lightbulbs, I kid you not when I say that the atmosphere in our lovely purple auditorium on Salford Quays was electric (in more ways than one).

The production, which won the 2017 Olivier Award for Best Musical Revival, excels in every way imaginable.

Its 70s rock score is bold and impassioned (The Who, who?), and in sync perfectly with this production’s sweeping and energetic choreography, the cast’s incredible voices, talented musicians hiding in the shadows of the haunting set, where the highly creative lighting design removes the need for any pesky scene and set changes.

Amidst the pin-drop atmosphere of a captivated audience during scenes, one did give rise to a knowing titter (yes, titter) and appreciation for a freeze frame re-enactment by the cast, of da Vinci’s Last Supper and then again some rapturous receiving of the rather fabulous and very extra appearance of Timo Tatzber’s King Herod which, almost paradoxically speaking, provided light relief.

Hannah Richardson’s Mary, was beautiful in its soft, yet powerful, sensitive and moving depiction, her voice, breath-taking. In fact let me pause to reiterate my sweeping but efficient statement, that the vocal talent on stage from all was another level.

But it was testament to the performances of Ian McIntosh (We Will Rock You, Follies, Beautiful: The Carole King Musical) as Jesus, and Shem Omari James (Dreamgirls UK Tour) as Judas, that led me to my own dramatic finale; a reactive production and wiping away of tears before lights-up.

Impassioned, talented, strong, they both lived their roles in front of our eyes from start to devastating end.

And I’m willing to bet I wasn’t alone in my appreciation and emotion as the production reached crescendo in its tale of friendship, betrayal, love and persecution, and we were left to ponder what we’d just witnessed. In fact I know I wasn’t, as the standing ovation (for those able) was pretty much universal.

Pondering my proclivities on the way home and my less than tolerant attitude towards musicals, I concluded that the main reason had been that of the ‘stop-start conversation which breaks off into song’, nature of them all (not to mention a touch too much positivity – oh yes, I’m a hoot).

Like opera (which I very much do), I need the sing-through.

JCS (yes I feel we’re ready for this level of intimacy), does indeed have this but oh so much more.

And with that, I’ve finally found ‘my musical’. And I can’t say fairer than that.

Jesus Christ Superstar is at The Lowry, Salford, until Saturday 25 May. Visit https://thelowry.com/whats-on/jesus-christ-superstar/ for tickets and more details.

For full details of the cast and creatives, visit https://uktour.jesuschristsuperstar.com/cast/