Exquisitely Emotional, Bursting With Talent: Jesus Christ Superstar

A thunderous standing ovation reflected the appreciation of the timeless and iconic rock musical Jesus Christ Superstar.

The stage setting, direction, musicians, choreography - combined with the performer’s collective talent - is mesmeric through journey of the final days of Jesus.

Passionate in his beliefs and the following he has generated, Ian McIntosh superbly depicts Jesus as an ordinary man performing extraordinary miracles while racked with the same self-doubt and fears as fellow human beings.

An enormous cross positioned stage right is an all-pervasive reminder of what lies in store and the finale is explosive.

The extraordinary backdrop of events in the countdown to Judas’ betrayal and the crucifixion of Jesus are seen through the eyes of Judas whose infamous kiss identifies Jesus to the soldiers in the garden of Gethsemane.

Shem Omari James is outstanding as Judas, the main narrator, who is sceptical of Jesus’ influence over his disciples and increasing band of followers.

Concerns over whether Jesus has placed himself in a dangerous position through his fervent beliefs lead Judas to the ultimate betrayal of his friend.

Tortured emotionally by his treachery, I felt every nuance of his subsequent agonising guilt, inner turmoil and self-infected sense of loss.

Another terrifically talented performer is Hannah Richardson as Mary Magdelene. Her soulful rendering of the legendary I Don’t Know How to Love Him and poignant delivery of Everything’s Alright leaves the audience breathless.

The escalating tension between Mary and Judas who vociferously disproves of her is tangible – a stark contrast to the mutual tenderness and compassion between Mary and Jesus.

Excitement mounted in the second act as we awaited the dazzling entrance of Julian Clary as the tyrant Herod bedecked in opulent golden robes – a dramatic contrast to the stark setting.

There is nothing small about Clary’s strutting and sensational cameo performance of the infamous King Herod’s Song and his goading, taunting challenge
“Prove to me that You're divine, Change my water into wine”.

Relishing and maximising every second, Clary describes his role as “…crazed, queer, imperious King Herod. I’m thinking Putin meets Cleopatra with a hint of Biggins.”

His parting shot that trying to converse with the beaten up and battered Jesus was akin to “talking to a dead duck” was beyond brilliant.

The musical delves into the personal relationships and struggles between Judas, Mary Magdalene, Jesus and his disciples, followers and the Roman Empire.

The sinister priests, particularly Caiaphus (Jad Habchi) and Annas (Matt Bateman) deserve a mention and their portrayal of This Jesus Must Die chilled me to the bone. Ryan O’Donnell also gives a noteworthy performance as Pilate.

This multi-award-winning production of Tim Rice and Andrew Lloyd Webber’s celebrated lyrics and music directed by Timothy Sheader, choreographed by Drew McOnie brought the house down.

Haunting, harrowing and truly outstanding, if you only see one production this autumn, I recommend this one.

As the buzz of the crowds spilled out onto the streets of Newcastle, a theatre goer who was so bowled over excitedly explained she was rushing home to book more tickets to experience it all again.