Review: Jesus Christ Superstar (Watermill Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

Unless you've been living under a rock, you will know all about the revival of Evita, currently making a buzz at the London Palladium. What you may not know is that another of Andrew Lloyd Webber and Tim Rice's musicals is also making a buzz this summer as the Watermill Theatre in Newbury resurrects their classic, Jesus Christ Superstar. Given the summer musicals at this theatre over the past two years (Barnum and Lord of the Rings) were not only overwhelmingly acclaimed but have both gone on to further life elsewhere, hopes are understandably high for this new take on a classic. Would it prove to be the King of the Andrew Lloyd Webber revivals this summer, or would they end up crucifying this production?

Beginning life as a concept album in 1970, Jesus Christ Superstar debuted on Broadway in 1971 and hit the West End the following year, beginning an eight-year run. It has been revived countless times in the decades since, most recently seen in the unstoppable Regent’s Park Open Air Theatre reinvention that played multiple seasons there, transferring to the Barbican and recently concluding a thrilling UK tour. Loosely based on the Gospels’ accounts, the show sets itself in the final weeks of the life of Jesus Christ as the events leading up to his crucifixion (spoiler alert - sorry) play out.

The Watermill productions are always big, bold, and ambitious, and Jesus Christ Superstar is no exception. Having lost their annual funding several years ago, they were defiant in their decision to go bigger with their innovative staging of Lord Of The Rings, making full use of their beautiful space both inside and outside of the theatre. Sadly, my visit to that production two years ago was on a particularly wet and miserable day, which meant the Shire was inside, and I didn’t get to see what others cited as the most magical part of the production. It looked like history was going to repeat itself on my visit this year after a heavy downpour earlier in the day. Luckily, a prayer to God meant I got to experience this production as intended, and the result was simply breathtaking.

It is difficult to bring something new to a production that has been wowing audiences globally for more than fifty years, especially while keeping the essence of the show and the key moments in a way that satisfies audiences while still being able to surprise. It’s a delicate mix and one that may prove divisive, as Jamie Lloyd’s Evita can testify. The Watermill seems to have a great knack for finding that balance, in a production that takes risks and attempts to stage a very different Jesus, while simultaneously giving you the feeling you are in safe hands. To manage to do both at the same time can only be described as a miracle, but this production truly is miraculous.

To call Paul Hart’s vision for this production would be a disservice to the sheer quality and innovation of it. Bringing such a big, rock musical to an intimate 220-seat space may not have felt like the most obvious of choices for the Watermill, but it works remarkably well, with the intimacy accentuating the connection as characters circle the audience and utilise every inch of the space inside and out (more on that shortly). Hart’s direction, coupled with intricate choreography from Anjali Mehra, creates a Jesus Christ Superstar that is reminiscent on earlier productions while putting his own inimitable stamp on it with often daring choices that always pay off.

The most daring choice is the choice to move the action outside (weather permitting) for the start of Act Two. The garden of Gethsemane is recreated in the gardens of the Watermill as audience members surround the cast for the first chunk of the second act. Fittingly, for a show about Jesus Christ, there was something spiritual and oddly religious about this setting. Adding to the grandeur of the piece while making it feel even more intimate than ever before, hearing the iconic song that is ‘Gethsamane’ in this setting was an experience like no other, and one that will stay with me as long as I live. Beautiful, raw and real, to stage part of Jesus Christ Superstar in a setting like this is the perfect example of why The Watermill Theatre is at the top of its game when it comes to innovation and the highest quality, showcased once again this time around.

It can’t be easy technically to ensure the quality of the experience outside matches that of inside, so a special mention must go to sound designer Tom Marshall for ensuring nothing was lost in this perhaps unconventional and surely difficult setting. Where I mentioned every inch of the Watermill being utilised, I really did mean every inch. Evita isn’t the only show to have a cast member high flying and adored, as the outdoor section also features two cast members on the roof of the Watermill, singing and playing instruments. It was a remarkable feat of creation and execution, faultlessly directed and ingeniously realised. It may feel disruptive to then have to return to your seats for the conclusion of act two, but this was done in a way that retained the escapism and was remarkably quick given the amount of people that needed to be seated again following this - though I appreciated those extra few minutes to attempt to come down from the theatrical perfection I had just witnessed.

The design for this production was exquisite throughout, with David Woodhead’s set design both inside and out a thing of beauty. Rory Beaton’s lighting forms a big part of the design as well, keeping the rock concert theme in places while showcasing some stunning effects elsewhere, with Daniel Denton’s video design used elsewhere to create a visually striking and distinct production.

The creative team assembled for Jesus Christ Superstar are all at the top of their game, creating complete magic with all of their elements coming together effortlessly to bring something truly special to life. On a similar level are the phenomenal cast that have been gathered for these roles. Keeping with their tradition of recent summer musicals, the cast are all actor-musicians, playing all the instruments as well as showcasing their out-of-this-world vocals.

Michael Kholwadia takes on the role of Jesus in a confident portrayal that weirdly reminded me of the singer Prince at times (not a comparison I expected to make, but here we are). His beautiful vocals soared on ‘Gethsemane’, and the anguish he conveyed in his performance elsewhere proved truly captivating. Parisa Shahmir delivered a similarly strong turn as Mary, with a beautifully earnest and understated rendition of ‘I Don’t Know How To Love Him’ proving spine-tinglingly good in its powerful honesty. Other highlights among the consistently impressive cast are Samuel Morgan-Grahame as Herod, in a ‘Herod’s Song’ like you’ve never seen before (another testament to Paul Hart’s skillful direction), and Christian Edwards giving a fine turn as Pilate.

Though it is Jesus’ story, it is told through the eyes of Judas, meaning his character is equally prominent in the story, perhaps even more so. So it feels fitting that the standout in this production is Max Alexander-Taylor in his blisteringly good portrayal of Judas. With exceptional vocals, incredible musicianship and sensitive and authentic acting, he proves himself to be a real rock star in his performance. A testament to his skill as a performer is in how captivating he proves both when he is showcasing his God given vocals, or lurking in the background in silence, while still making his presence felt. From his opening in ‘Heaven On Their Minds’ to the climactic ‘Superstar’, in a strong cast, Alexander-Taylor delivers one of the strongest performances in musical theatre I have seen this year.

I wasn’t sure if I’d be able to catch this production of Jesus Christ Superstar this summer but the buzz I heard from others about it told me this was something I couldn’t afford to miss. I’m glad I listened to them, because this production is incredibly special. While the rewards for Judas’ betrayal may be silver, this production proves to be pure gold. It doesn’t just continue the high standard the Watermill Theatre has prided itself on in recent years, it betters it. If their productions of Lord of the Rings and Barnum were already pretty solid, their Jesus Christ Superstar is simply extraordinary. Inventive and unique, it proves that London isn’t the only place you will find an exciting take on an Andrew Lloyd Webber classic this summer. Where Evita well and truly blew me away, I’d argue that this production is every bit as impressive, perhaps even more so in certain aspects.

A fine example of how to take a classic and bring something new to it while not taking anything away in the process, Jesus Christ Superstar once again proves what superstars the Watermill Theatre are and the miracles they can work in a relatively intimate space in a production that can only be described as musical theatre heaven.

Jesus Christ Superstar plays at the Watermill Theatre in Newbury until 21st September. Tickets from https://www.watermill.org.uk/events/superstar

Photos by Pamela Raith