Jesus Christ Superstar

Ian McIntosh (centre) as Jesus, with talented ensemble

Review by Martine Silkstone

In all my theatre-loving years, I have never seen a production of the global phenomenon that is Andrew Lloyd Webber's Jesus Christ Superstar. In truth, it has never really appealed and I'm not entirely sure why. Maybe the subject matter - betrayal and crucifixion - simply sounded a bit too heavy? Or perhaps it was because the music was largely unfamiliar? Either way, taking my seat at the Ipswich Regent on opening night of this latest incarnation, it's fair to say that I didn't know what to expect...and what transpired on stage was, frankly, a revelation!

Yes, as a sung-through rock opera, it took a few beats to let go and go with it, but once the performance was underway it absolutely blew my mind. 

Simple but atmospheric staging, including lighting and set design, provided the perfect backdrop for a wonderfully talented cast of dancers, singers, actors and musicians (in some cases all of the above in just one person!) Using handheld mics and backed by a band that was rocking out among the scenery, this felt modern, edgy, thrilling and almost primal in some of its choreography - like the best kind of music gig, but with the lead singer wearing a crown of thorns. 

And if it was a gig, Ian McIntosh would be worth the ticket price alone. In the lead as Jesus, he has such calm presence, and a truly astonishing voice that is initially soft and gentle, then later full of power and passion. Quite simply, the perfect person in the perfect role.

Alongside him, Hannah Richardson sings beautifully as Mary, Shem Omari James is visibly tortured as Judas, Jad Habchi brings a wealth of charisma as Caiaphas, and Ryan O'Donnell is cool personified as the leather-jacket-wearing, electric-guitar-playing, mic-dropping Pilate.

Ryan O’Donnell (left) as Pilate, with Matt Bateman as Annas and Jad Habchi as Caiaphas

So far, so fabulous rock opera.

Then Herod (Timo Tatzber) enters stage left...

What follows is either a deliciously camp, cabaret-inspired, ragtime delight (no - really) or a Haribo-fuelled fever dream. Whichever, it is joyous and unexpected and I loved it. 

In fact I loved the whole thing. I don't know what I had pictured beforehand but it wasn't the cool, funny, emotive musical that unfolded on stage and peaked with a real wow moment as the title track swelled. 

Being hyper-critical, I did struggle to hear the words when Judas was singing and in a sung-through format that can interrupt the narrative. But to be fair to Shem Omari James, he definitely had the hardest lyrics (fast paced and complex), and ultimately it didn't affect my enjoyment of the show. Indeed, I don’t know why it took me this long to get on board.

If you too have been a little reticent to give this musical a try, I hope this will inspire you to head to the Regent this week.

I've said it once and I'll say it again - it blew my mind!

Note: Thrilled to hear an announcement at the start of the show requesting that audience members refrain from talking, making noise or using phones so that everyone could enjoy the performance. It shouldn't need saying but…

The Regent’s Park Open Air Theatre production of Jesus Christ Superstar is at Ipswich Regent until 20th January 2024.

FOR FULL SHOW DETAILS AND BOOKING LINK, CLICK HERE