(GayWebSource.com – Gay News & Press Network) – Posted by Jake Simpson – TheGayUK.com

Despite being a regular theatregoer for the best part of 35 years, somehow Andrew Lloyd Webber and Tim Rice’s early musical, Jesus Christ Superstar has passed me by. With its origins as a concept album written off the back of a successful single; and presented in a similar vein to their other huge hits, Joseph and Evita, the narrative is conveyed in early 70s rock style and tells the story of the last seven days of Jesus, mainly from the perspective of Judas.

★★★

Played out on a set which was a hybrid of an imposing, intricately carved temple and a metallic framed rock stage, the sing through musical was beautifully and effectively produced, with superb lighting designed by Nick Richings, crisp and clear sound and a live orchestra who shone throughout the entire performance.

Despite a subject matter which some may consider heavier than the usual musical storyline, or perhaps one which may be thought to be a controversial choice for a rock opera, the show contained a collection of good performances from a strong ensemble, most notably Cavin Cornwall’s portrayal of Caiaphas, who’s deep, booming tones, imposing presence and slow and precise movement around the stage gave his character an air of someone brimming with evil intent. Johnathan Tweedie excelled with a commanding performance as Pontius Pilate and Rachel Adedeji impressed with not only her natural beauty but also with her controlled and soothing performance as Mary Magdalene.

Jesus Christ Superstar is a show which is very hard to categorise. From its moments of serenity, demonstrated nowhere better than in Adedeji’s breathy rendition of I Don’t Know How To Love Him; to the deliciously camp and over-the-top number Herod’s Song (with Herod played by Tom Gilling, who was clearly channelling his inner Tim Curry), through to the beautifully presented ensemble pieces such as “Hosanna”, the show is one with a soundtrack which varies in its pace but which always has the underlying rock guitar and sustained high notes never too far away from its score. But where the show really took me by surprise was with just how harrowing, dramatic and poignant the ending was. As Christ was crucified, the atmosphere in the auditorium noticeably changed and a number of audience members winced or turned away. The way in which the scene was handled, regardless of your religious persuasion, was undeniably an unexpectedly powerful and impressively directed piece of theatre.

I certainly enjoyed the show more than I thought I would. That said, for me personally, the show didn’t have the number of instantly recognisable or memorable songs which are usually so prominent in many of Lloyd-Webber/Rice’s other collaborations; and the 70’s rock genre of music is not one which I particularly enjoy, but that is more to do with my personal tastes and nothing to do with the production itself, which overall, was hugely impressive in its staging.

For fans of the musical itself, this show is a real treat, having great production values, great performances, great staging and great energy, and demonstrates that even 45 years after it was first performed, there is a reason why this enduring musical is still so loved by many.

Jesus Christ Superstar is now playing at Sheffield Theatres until 2nd May 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour, playing at numerous venues around the country between now and November 2015. See http://www.kenwright.com/index.php?id=1433 for more details.

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