I was a skeptic; ever since first hearing of ‘Jesus Christ Superstar’ with the ITV1 talent search in 2011, I found it preposterous that something as sacred as religion had been turned into a mere musical, despite loving musicals in all shapes and forms.
I am now officially a convert.
I cannot stop thinking about the performance of ‘JCS’ running at the Birmingham Hippodrome in November 2015. It was stunning and – more than that – it made me rethink my view of one of society’s oldest institutions. I am by no means undergoing a religious conversion, but I’d always thought of it almost as a moralistic tale where people suffered artfully and told long rambling tales to make us understand how to behave – not any more. The suffering of Judas, Pilate and Jesus is haunting in Andrew Lloyd Webber’s hit musical, so much so that by the end I was ready to cry. In particular, the literally painfully drawn out final scene, where Jesus is nailed screaming to the cross, was hideous for both the obvious and more obscure meanings. His cries of anguish were tormenting, but equally it made us realise: no matter what else he might have been, Jesus was a man of flesh and blood when this happened, and felt everything, calling for his mother and water, never denying his essential humanity. It was here that Glenn Carter, as Jesus, really outshone himself; yes, Gethsemane was stunningly sung, but this was his piece de resistance, and it was truly humbling.
Having seen my fair share of musical theatre, I can honestly say that I’ve never seen such a well choreographed or suitably used cast before. Their movements were so well coordinated without looking false, and intensified the musical dramatics no end; the highlight for this had to be during ‘The Temple’ scene, where Jesus’ cry of ‘heal yourself’ was riveting in the midst of the claustrophobia around him, the faceless and helpless people literally drowning him in their requests.
Two things I have to pull out, though, are Tim Rogers and Rachel Adedejie as Judas and Mary Magdalene. They both had something the other lacked, one more so than another. Judas was hugely moving; his constant lurking presence on stage made his final confused status as victim and murderer compelling. However, there were times when his voice was perhaps not used to its potential, and that potential was clearly there because ‘Superstar’ was astounding right at the end, but before it was perhaps too heavily focused on acting rather than singing. Needless to say this was incredibly minor, particularly when the reacting to things like Jesus’ beatings and arrest were so moving, but noticeable in the face of performances such as Tim Minchin’s in the 2012 revival.
The opposite happened with Mary Magdalene. She felt like a token presence on stage, which was mildly irritating, as though a woman was necessary for looks but nothing else. Likewise, her singing was flawless, but in an idealised way; there was no trouble, no heartbreak behind it, which made ‘I Don’t Know How To Love Him’ slightly hollow, which is a shame for such an amazing song. Her acting needed vamping up and injecting into her singing to make the perfect performance.
If I had to pick a favourite segment, it has to be Caiphus and Anas’ initial scenes within the council. ‘This Jesus Must Die’ is my favourite arrangement; the tempo, variety and characters were stunning. A close second had to be ‘Trial Before Pilate’, which was utterly brilliant; seeing Pilate as a victim was much like seeing Judas as one – a moving revelation. His final exasperated pleas to Jesus were breathtaking, and the transformation between empowered statesman to a man holding life in his hands was flawless – it was definitely here where I started to lose control of my emotions!
The ‘Jesus Christ Superstar’ tour comes to an end soon, but I can only live in hope that it will restart again in the imminent future, because I would be one of the first to show my devotion at a theatrical temple to such a breathtaking and lyrically infectious musical.