Set in the picturesque surroundings of Regent's Park, the open-air theatre is a spectacle in itself, and even as you take your seat it is clear that this version of Jesus Christ Superstar is going to be very different from the arena version a few years back. Based on the most famous stories from the Bible: the week leading up to Jesus’ crucifixion, this Jesus Christ Superstar has been catapulted into the 21st century. From the stark concrete set to the Kanye West-esque costume, visually it would not have been out of place on the streets of London in 2016.When Jesus Christ Superstar was first performed in London it became the longest running musical of the time, playing at The Palace Theatre for 8 years, so it was inevitable that this 2016 version would put a new spin on the show. The stage comprised of an imposing grated copper cross and high-rise scaffolding surrounding the back and sides of the space. Standing at the top of the scaffolding the guitarist established his presence with the opening chord and the show began. The cast filled the stage from the audience setting up the space and preparing, it seems, for Jesus’ imminent arrival and opening address. The show instantly felt very current with the young ensemble performing number after number with unrivalled energy and attack. The clever use of glitter to symbolise both the decadence in the den of thieves, and the 40 lashes received by Jesus as he was taken to the cross, was a wonderful choice both visually and symbolically, although I feel that this stylistic approach in the direction could have been pushed further in other elements of the production.
Ever since I first saw his work on ‘In the Heights’, Drew McOnie has been one to watch. His unique style creates a beautiful masterpiece on the stage and for me his choreography steals the show. The fusion of his contemporary style mixed with a hip-hop feel not only helped to solidify the show's current approach to this musical, but also told a beautiful story of every individual journey on the stage. The ensemble were slick and precise yet approached the choreography with a raw edge making it very accessible for a potentially new audience. Even the most novice of theatregoers could see that what he created was visually spectacular.
Stand out performances come, of course, from Jesus played by Declan Bennett. His Gethsemane alone is worth the price of the ticket. His version of this song was sublime and the sheer commitment to the journey of the character throughout was unrivalled. Vocally it was perfectly placed and everything the show was building up to was delivered in this one number. Tyrone Huntley’s Judas was superb, with a burning intensity and complete commitment to the role. His voice was breath taking with an absolute understanding of how to manipulate it for this role. He did not over complicate things with too many riffs and licks, but instead trusted in his own voice and by doing his thing the whole performance was flawless. A mention has to go to Peter Caulfield who played the fabulously camp King Herod. His appearance in a huge silver lamé coat and tremendous make up as he performed his show-stopping number ‘Herod’s Song’ made for tantalising viewing. Just when you thought it couldn’t make you howl anymore, he sheds his jacket to reveal small briefs as he then leaps off of the stage and proceeds to prance around with his backing dancers, who are hysterical in their own right.
Ultimately this show is great reworking of a classic, with some beautiful new elements. Using a very current cast and creative team to update the show, is exactly what musical theatre needs in order to keep even the classics relevant and appealing to the next generation of theatre lovers.
FABRIC written by Abi Zakarian is a one woman show that revolves around the themes of female emancipation, everyday sexism and sexual abuse. Although this production addresses some very important issues and hard hitting subjects it feels like it could really benefit from further development.