jesus christ superstar arena tour review

Theater | Review: “Jesus Christ Superstar’s” 50th…

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Theater | review: “jesus christ superstar’s” 50th anniversary lap is a wild ride, the shows runs through jan. 28 at denver performing arts complex.

Tuesday’s performance of “Jesus Christ Superstar” at the Buell Theatre raced and banked like a roller coaster, with all the stomach butterflies and whiplash that implies.

The six-date run of the 50th anniversary tour of the Broadway classic is, as fans know, another shot of life for the all-singing, all-dancing rock opera, the success of which pushed Andrew Lloyd Webber’s music and Tim Rice’s lyrics into households around the United States.

The 90-minute, intermission-free show remains faithful to its early 1970s origin, with strenuous choreography and herky-jerky melodies. The Gospel-inspired lyrics and songs aren’t for everyone; one has a hard time imagining anyone but young theater nerds clamoring to see it for the first time in 2024, despite “Superstar” being the first musical many older fans experienced.

But Tuesday night’s effortful showing proved the durability of its commercial appeal, if not its message of peace amid psychological and physical torture.

With cast members practically cartwheeling onto stage from the aisles, the show presents disciples and commoners in hoodie sweatshirts, sneakers and the occasional track pant (a spiritually faithful nod to the original production). The live band, with guitarists spotlighted, looms from a second-story perch. Like the hip-hop-driven “Hamilton” and its imitators, it’s a breathless reimagining of a familiar story through pop music. Missing some of the rapid-fire and occasionally hard-to-follow lyrics is not a dealbreaker. We all know where this is going.

The parade of meaningful looks into the rafters begins with our Jesus (Jack Hopewell), whose wickedly high voice is the summit of the show’s vocal tower. What first seems like an understated performance from Hopewell reveals itself to be centered and confident. One initially wants him to reach out more to the audience, his nonexistent body language lagging behind his jackrabbit voice.

But that’s an asset when contrasted against the officious and intimidating High Priests, who march onto the stage’s metal-cross riser shirtless with tall staffs, the music turning grim and low in their throats. The show-stopper from a golden-hued Herod (Alec Diem) is akin to King George in “Hamilton,” providing desperately needed humor against deadly serious drama. Bad guys have all the fun, as Alex Stone’s riveting Pontius Pilate attests.

Along with Jesus, traitor Judas (Elvie Ellis) and Mary Magdalene (Jaden Dominique) anchor the show, with Ellis delivering a particularly explosive turn. It’s tough to imagine there’s anything left for him after each performance, as much as he gives in his crucial role. Dominique provides a soulful and smooth respite to the record-skipping, medley-like milieu, offering another moral center of gravity.

On a local note, Colorado’s own Joshua Bess, who this month sang the National Anthem at a Denver Broncos game, also stands out in an ensemble that’s expected to run, jump, flail and sing nearly nonstop. His unflagging energy is typical of the members’ performances.

The baubles — internally lit crosses, gallons of golden glitter, and enough mistiness to keep the fog-machine industry in business through the end of the decade — are omnipresent in the second act as the cast flits and climbs through original designer Tim Scutt’s versatile set. By the end, the constant motion has drawn our eyes over every inch of the stage.

This is a contemporary reading of a contemporary reading. Jesus wears a very 2020s top-knot, his silhouette more Instagram wellness-influencer than robed Biblical figure. Improbably, his message of peace and tolerance feels newly controversial in light of distant wars and domestic divisions, as painfully relevant now as in the ’70s.

The music, too, still grabs, with searing electric solos, film-score swells and jazzy interludes. Music director Ryan Edward Wise fills this tall, complicated order with aplomb, given the show’s demanding sung-through format, and the mostly hidden live band is immaculate.

Balancing an instantly recognizable brand with its own heart and soul, director Timothy Sheader makes this “Superstar” worth revisiting thanks to its raft of killer players and their fresh takes. But it is, at heart, the production that it’s always been, and it’s up to you whether that’s worth worshipping.

“To conquer death you have to die,” sings Jesus in “Simon Zealotes/Poor Jerusalem.” Given the longevity of this show, we’d beg to differ.

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‘Jesus Christ Superstar’ review: ‘A tour de force of wobbly-eyed emotion’

Andrew Lloyd Webber comes to YouTube – read our review of the original ‘Jesus Christ Superstar’ arena tour

Andrew Lloyd Webber’s biggest musicals are coming to YouTube , and this Easter weekend’s release is ‘Jesus Christ Superstar’ (obviously). The production was filmed on an arena tour of the UK in 2012, and stars Tim Minchin, Mel C, Chris Moyles and Ben Forster. Fancy a sneak preview? Here’s our review of the opening night at The O2 back in 2012 …

Before a note is sung on the opening night of this arena-touring Andrew Lloyd Webber revival, there’s already a waft of anachronism about it. This is, after all, a show whose attempts at cutting-edge modernisation involved picking its lead via flop ITV talent show ‘Superstar’. Which lends it all the contemporary credibility of a drunk uncle dancing at a wedding.

And, surprise surprise, a pall of ludicrousness hangs over director Laurence Connor’s revival of Webber and Tim Rice’s 1971 smash like the smell of the bland, overpriced burritos in the foyer. Disembodied social networking messages like ‘Wots the buzz?’ (sic) float across designer Mark Fisher's backdrop of pseudo-Banksy murals as crusties set up pop-up tents in an attempt to recast Jesus’s disciples as the Holy Land equivalent of the Occupy movement.

Mel C is a riot grrl Mary Magdalene whose insurrectionary kit includes a little essential oil for a shoulder rubdown. Tim Minchin’s a dreadlocked keffiyeh-sporting Judas Iscariot who lugs his black backpack around as a curious post-7/7 signifier of evil. A bevvy of white-corset-clad babes in angel wings suggest the Garden of Gethsemane was some kind of Judean Manumission. And in recasting the Roman establishment not just as overcoat-wearing City bankers, but as a clan whose logo also contains an Illuminati-referencing triangle, it’s a wonder the characters don’t wander on stage with the word ‘Eeeeevilll’ tattooed on their foreheads.

Photograph: Courtesy The Really Useful Group Ltd

There’s no doubting the brilliance of the cast, though. Minchin’s the stand-out: a tour de force of wobbly-eyed emotion and vocal intensity. Mel C’s eminently likeable turn might just be the most credible thing she’s done this century. Even Chris Moyles, who invests a crushed red velvet suit as a bizarre Jeremy Kyle-esque TV chatshow host version of King Herod manages an inoffensive charisma. And granted, ‘Superstar’ winner Ben Forster’s Jesus does engage in a face-off with Judas that becomes a testicle-rupturing falsetto-geddon of unbridled ridiculousness. But, hey, that’s basically what he’s here for.

Connor’s production struggles to hang together, though. Attempting a hyper-modern, zeitgeist-channelling staging of a distinctly retro-sounding rock opera leads to bits that jar. It’s a bit like Black Lace staging a gig in Fabric. It’s like a Jim Davidson stand-up show on E4. It’s like Andrew Lloyd Webber trying to clothe himself in the trappings of a member of UK Uncut. Oh wait: that’s what it is. Still, there’s no ignoring the rapturous whoops of the enormodome audience. Suspend your disbelief and there’s an enjoyably daft experience to be had here.

Watch ‘Jesus Christ Superstar’ free on YouTube from 7pm on Friday April 10, and for 48 hours afterwards.

Now discover more of the best theatre shows available to stream online right now  – plus 80 more fun things to do at home .

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Jesus Christ Superstar UK tour – review

The acclaimed production returns for a UK tour

You don’t have to be religious to raise an eyebrow at Andrew Lloyd Webber and Tim Rice’s decision to musicalise the last days and death of Jesus Christ. But you’d have to be a hardened cynic not to reel from the music that decision results in. Timothy Sheader’s production landed like theatre’s miracle resurgence when it reopened the Open Air Theatre, Regent’s Park in 2020 . At the end of its near-pulverising two hours, the cast have thundered through the 20-plus-strong score with proselytising force.

There are almost as many genres as Bible chapters. Its electric rock base aligns with the punk aesthetic, but some of the switches jar with the drama. Jesus’s occasional soul twang or jazzy motown funk feels almost parodic, while the upbeat dancing and rejoiceful hand-waving of the gospel-esque “Superstar” seems a particularly bizarre accompaniment to his crucifixion. But it unravels strikingly in a discordant cacophony as he dies, bleeding out with him.

The microphone becomes symbolic of his messianic voice. In “Gethsemane”, Lee Curran uses searchlights to amplify all his whys as he implores God for answers. Ian McIntosh’s solo powerfully shows surrendering of will, collapsing from clenched coiling up and folding himself over into silent kneeling, offering up the mic, after which he’s passively resigned and almost never makes any sound again. McIntosh is also charismatic enough to convince you of his following and make him more than a flat martyr.

Designer Tom Scutt’s costumes show a clear distinction and how the disciples counterpose the religious order, with their plain hoodies and tracksuits against the elaborate gold-trim robes of the Pharisees. However, his industrial set of rusty steel beams veers into music video, as do the clumps of glitter slung at Jesus in the 39 lashes. It’s not helped by the ensemble skulking moodily with hoods up, although their use for both the disciples and then the braying mob cleverly alludes to betrayal. Shem Omari’s Judas, himself, is also overly menacing and baleful with screeching whines.

If it’s often hard to see how the musical works with the story, it can feel almost impossible to follow the plot. The speed and force of the sung-through musical’s delivery makes you reliant on catching passing biblical references to orient yourself. Psychology is equally drowned out, while so many similarly angry songs leave you with rage as the only characterisation.

Drew McOnie’s choreography can also look ill-disciplined with excessive use of the ensemble, including one lone acolyte who occasionally thrusts at Jesus or the floor for no clear reason. Theirs isn’t the only gratuitous movement: every microphone stand twisted, twirled or hurled across the stage as though every prop must first be imbued with the holy spirit. The Pharisees, by contrast, have only a limited, slow and awkward routine they have to repeat on each appearance.

Its best sequences incorporate slamming, punching fists into a violent mob, or the rising and falling bodies that portray the healing of the lepers and Jesus’s own magnetism. The cast, which includes Julian Clary as Herod for the initial tour dates, universally work incredibly hard, and if it’s a rush of full-pelt ballads you’re after, this is the answer to all your prayers.

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Jesus Christ Superstar – review

"F ather, forgive them, for they know not what they do," cries an agonised Jesus on the cross. But it's the good lord, otherwise known as composer Andrew Lloyd Webber , who should have known better than to crucify his own child by presenting it in this arena format with a Jesus (Ben Forster) cast from a TV talent show, a former Spice Girl – Mel C – as Mary Magdalene, and Tim Minchin as Judas. Written by Lloyd Webber when he was 21 with lyricist Tim Rice, the show began life as a concept album and a US arena tour before Jesus conquered Broadway in 1971.

It's a bold, brash show that boasts all the look-no-hands youthful glee that marks Lloyd Webber's early and best efforts, including Joseph and the Amazing Technicolour Dreamcoat. Taking it back to its roots is not a completely insane idea. But it requires a more imaginative, subtle and better acted and sung production than it gets here in Laurence Connor's revival. Connor conflates last summer's London riots and the Occupy movement to create a contemporary backdrop for the rise of a new political leader who threatens the status quo of capitalism and state authority.

Giving the show a contemporary spin is fine, but the production substitutes decibels for drama, and the large cast crowd scenes appear to have been directed on the premise that if Jesus is coming, it's best to look busy. The revolution comes and goes with lots of cartwheels, the unimaginative acrobatic fall-back of the desperate director with a big space to fill.

What you get is spectacle, but very little variety. The strength of the show is the score's tonal variations, swooping effortlessly from heavy rock to ballad, the emotional connections in the triangle between the tortured but disaffected Judas, the weary Jesus and the yearning Mary Magdalene, and lyrics that are well worth hearing. How could anyone fail to fall for a line that goes: "Prove to me you're no fool/Walk across my swimming pool."

But we often can't hear the lyrics. This Jesus doesn't live, he merely deafens us, and although Forster makes plenty of noise, he has only two facial expressions (pained, or faintly smouldering like a bit of damp kindling) and he lacks the charisma to persuade that he could be the leader of a revolutionary movement. In fact the acting is pretty rudimentary throughout, although Minchin brings intelligence and desperate passion to Judas, even if his singing is sometimes compromised by the effort.

Mel C is a strangely laid-back Mary Magdalene, relaxed to the point of blankness. It's left to Alexander Hanson as the dithering Pontius Pilate to inject some theatrical class into the proceedings, although it is Chris Moyles's leering turn as Herod, a game show host in red crushed velvet demanding the audience vote whether this Jesus is a fraud or a lord, which is the surprise success of an unconvincing evening.

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REVIEW: Jesus Christ Superstar – The Arena Tour, SECC, Glasgow

The publicity surrounding this newly revitalised Jesus Christ Superstar has been plentiful and vocal. From the naysayers who have decried it before even seeing it, to those railing against the snobbery surrounding it, who welcome the extravaganza with open arms. For what it’s worth here are my thoughts.

The score of this musical is demanding on its performers and success of this piece almost always hinges on the abilities of the singers involved. Search for a Superstar winner Ben Forster may have manged to belt out a few numbers on his TV journey to the role of Jesus but here his limited vocal range is exposed – fine when he’s in range but seriously under-powered when he’s not. His acting skills are also woefully limited, swinging between pained and pouting and not much else. Melanie C is an anaemic Mary Magdalene – again vocally under-powered and is in possession of a rather ear-grating nasal whine. The stand out star turn and power-house performance of the night is given by Tim Minchin who conveys the anger and anguish of Judas beautifully, though his vocals sometimes suffer from the efforts of his acting. Chris Moyles as Herod, only on stage for 3 minutes, milks it for all it’s worth and equips himself with more aplomb than you would imagine. Sheer theatrical class though is displayed by Alexander Hanson as Pilate whose experience on stage shows his younger counterparts how it should be done. Beautiful acting and a fantastic voice.

Director Laurence Connor brings us a rather rawer and grittier setting for this production: referencing the London riots of last summer, Guantanamo Bay, the Occupy movement and reality TV, indeed, the re-staging is one of the highlights of the production. My only complaint would be the sheer vastness of both the stage and the cast, often rendering the detail and any ensemble performances invisible.

However there was a large and very vocal number of audience members at the SECC last night complaining that they had absolutely no view of the stage in their £65 seats.

The action takes place in the centre of a square set with enormous scaffolding (containing the musicians) rising either side to the ceiling. However, this rendered the action completely invisible for anyone who wasn’t dead-straight, centre-front of the stage. The enormous screen at the rear of the stage which may have helped some of the audience follow the action was also completely obliterated by the staging.

This has always been one of my favourite musicals, it is certainly the musical I’ve seen the most and I’ve seen it staged in many forms. The experience, though a thoroughly enjoyable one, left me with a feeling that something was missing, it was neither fish nor fowl – never fully embracing its theatrical origins and never fully submitting itself to the full rock concert experience. It was a new and not entirely successful hybrid. Fundamentally this is a piece of theatre and despite its pounding rock score the subtleties, emotion and often delicate power that sets it apart from the rest has been lost in this vast arena.

Enjoy the rock spectacle, marvel at the size of the cast, revel in seeing Tim Minchin give a glimpse of his genius but take it from me – this is a beautifully written piece and is best seen at its simplest, I hope that those who see this for the first time here, go and see it in a theatre if it ever tours again.

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Theater Review: The 50th anniversary tour of ‘Jesus Christ Superstar’ breathes new life into a modern classic

The 50th anniversary tour of “Jesus Christ Superstar” began its Orlando run on June 7, 2022, and Attractions Magazine was invited to find out what’s the buzz and to tell everyone what’s a-happening!

“Jesus Christ Superstar” is a re-imagining of The Passion story, exploring the last days of Jesus and centering around his relationships with Mary Magdalene and Judas Iscariot. The show begins in the late stages of Jesus’s ministry and focuses on Judas’s growing distaste for the movement, his betrayal of Jesus, and Jesus’s subsequent crucifixion.

No prior knowledge of the story is necessary to enjoy the show, though having a basic understanding of the events will help audience members pick up on some of the looser and less defined connections between the source material and the musical.

As much as the story of Jesus Christ may be timeless, “Jesus Christ Superstar” is definitely a show from the early 1970s that is very much of its time. The influences of the late 1960s and early 1970s music are felt through every song, and truly the idea of a rock opera in and of itself can feel quite dated.

This is certainly not to say that the music and lyrics are bad, of course, and the show’s staying power and continued place in musical theater over the last fifty years is a testament to that. Some of the show’s more enduring (and singable) songs include the beautiful (and beautifully performed) “I Don’t Know How to Love Him” and the titular “Superstar.”

The show is presented as a true rock opera with very little, if any, spoken dialogue, and one song transitioning straight into the next. This holds for the show’s entire 90-minute runtime (which is presented without an intermission, so plan accordingly).

This particular production leans heavily into the rock concert aspects of the musical, having the band appear on stage and having each performer sing into a handheld microphone (although they each also had a wireless microphone on their face, so I was never sure if the handheld mics were props or the face mics were just backups).

The heavier rock concert elements were hit or miss for me, and without spoiling the specific moments, worked beautifully at times – such as during the death of Judas – and felt a bit forced at others, such as during the death of Jesus.

The set had a very cool industrial feel and used lighting very effectively to highlight the crosses made from steel beams coming together.

Anachronisms abound in the show, and indeed, are often purposeful components that range from the very blatant (Jesus strumming his acoustic guitar in a jam session with his disciples in a way reminiscent of a modern youth pastor) to the more nuanced (Jesus and his disciples dancing around with crosses, a symbol which should only really become associated with Jesus after his death).

If you have ever seen a previous production of “Jesus Christ Superstar,” this tour thankfully lacks many of the aesthetic choices which must have been cool in the 1970s but come across as a bit hokey now.

“Jesus Christ Superstar” has always been a show that lives and dies on the talent of the performers, particularly those playing the demanding high tenor parts of Jesus and Judas. In this production, the standout is Omar Lopez-Cepero as Judas, who commands attention whenever he appears on stage.

While it’s hard to root for the literal character of Judas, Lopez-Cepero really brings his humanity and his inner conflict to life on the stage, from his first lyrics to his final notes. The rest of the cast more than holds their own, keeping the energy high through the entire show.

In the end, while the show may be a bit dated, this touring production of “Jesus Christ Superstar” is well worth the price of admission to see an even more modern retelling of an already modern retelling. The superbly talented cast hits all the right notes and never lets the pace drag for the entirety of the show’s runtime.

Older generations will appreciate the throwback music and rock concert atmosphere while younger generations get an opportunity to see a modern classic retooled for the new millennium.

“Jesus Christ Superstar” is open now at The Dr. Phillips Center for the Performing Arts in Orlando, and runs through June 12.

For tickets, visit DrPhillipsCenter.org  and to find out more about upcoming tour dates, visit  USTour.JesusChristSuperstar.com .

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I just saw Jesus christ superstar in Toledo. It was intense and magnificent. Jesus version of I only want to say blew me away. I have seen the original movie several times and the play with Ted Neeley. All awesome. This play was a little different/creative in a fabulous way. If any of the performers have access to this pleaseshare with them how awesome it was. Would see again in a heartbeat!

A true disappointment. Could not understand 98% of lyrics which turned it into a yelling and screaming event that was extremely difficult to follow even though we already know the story!!

A true disappointment. We saw it in Naples and could not understand 98% of lyrics which turned it into a yelling and screaming event that was extremely difficult to follow even though we already know the story!!

Don’t go. They left out the Resurection at the end. Wow!

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Theater Review: JESUS CHRIST SUPERSTAR 50TH ANNIVERSARY TOUR (New Cast for 2022-2023 Tour)

by Maddalena Beltrami on December 31, 2022

in Theater-Los Angeles , Tours

I still have the soundtrack album that I bought when I was 14. I saw the movie when I was 16. I saw the Broadway Revival in my late teens. Today, just over fifty years after Jesus Christ Superstar premiered on Broadway, I had the pure pleasure of seeing it again at the Pantages Theater in Los Angeles. It’s a mash-up of rock concert stadium staging, lead actors holding microphones, music video, and Broadway-style production values and voices. With Shawn Gough ’s astoundingly tight music direction, Drew McOnie ’s hot-blooded aerobic choreography, Lee Curran ’s magical dramatic lighting, Tom Scutt ’s modern set and costumes, and a beautiful blend of vocals by an immense ensemble, this Regent’s Park Open Air Theatre 2016 production — updated for a 21st-century audience — is the closest thing you’ll get to heaven. It’s a fantastic production that mostly gets it right given the uneven casting.

There are 80+ recordings of  JC Superstar from over a dozen countries, not one of which in totality tops the original 1970 Concept Album. This North American tour, which runs well into 2023, returns to that raw street-wise power, and elucidates the timelessness of Andrew Lloyd Webber’s score, still his best. Never intended to be an accurate portrait of Christ’s passion, the story is lyricist Tim Rice’s idea of what Judas’s thoughts and motivations may have been, not a Biblical portrayal at all.

Interestingly enough, as much as I loved it, the three leads are somewhat disappointing — if, that is, you are expecting a blend of rock star vocals and great acting. It may be the fault of Timothy Sheader’s direction, which gives Jesus, Mary, and Judas scant sense of backstory and relationship, of which there is precious little to begin with. The leads play second fiddle to the melee and get somewhat lost. Maybe Sheader — who wisely dropped the intermission — thought any of that would get in the way of his hurtling high-voltage trajectory. Thus, Jack Hopewell ’s Jesus — complete with man bun — simply isn’t asked to blow you away like Ted Neeley or Steve Balsamo did. His tenor is lovely and lyrical, and his expressiveness and unique vocal timbre are awesome, even as he is better suited for pop. Maybe his interpretation is supposed to be less threatening to the current mood than a tall Jesus with long locks that rocks his torment. And Faith Jones as Mary was all wrong for the part in stature and looks and definitely in voice. — a beautiful lush high range is needed for her songs.

Still, Elvie Ellis plays the betrayer with a perfect blend of Broadway chops and show biz savvy, even as he lacks distinction. Beeks is particularly dramatic in “Damned for All Time” (when accepting his cash for ratting on Jesus to Caiaphas) and in “Judas’s Death” when his guilt and grief ultimately consume his life (with the help of a noose, here a dangling orange mic cord). When he comes back from the dead, there’s enough super-rockin’ dynamism — and seriously tight back-up Soul Girls L’Oréal Roaché , Savannah Fisher , Lydia Eku  — to make you get a ticket to come back (there are many cities for this tour, but runs are painfully short, most a week, so act fast).

It’s the smaller roles that blew me away, and I could hear every lyric from Isaac Ryckeghem , who is not just slimy as Caiaphas, the High Priest of Israel, but he snatches those low bass notes and spears them through the back of your head. Kodiak Thompson turns the manipulative, bullying priest Annas into a Mordred-like villain, and Nicholas Hambruch is thrilling as Pontius Pilate, the governor of Judea.

Mr. Scutt’s set design has a runway-like crucifix, especially effective when Caiaphas and his cronies crack down on Christ, and the orchestra is on levels behind the playing area. The main themes here — power struggles, control, greed — are remarkably clear, visceral and palpable. There is the 21st-century nail gun used instead of a hammer for the cross scene, and, as if to thrust us into the modern age’s divide between the haves and have-nots, Mr. Sheader has his players hurl sparkling gold dust at Jesus to represent each lash he receives. It’s a coup de théâtre, one of many in this most admirable revival.

photos by Evan Zimmerman for MurphyMade

Jesus Christ Superstar national tour Work Light Productions reviewed at  Hollywood Pantages  October, 2019 tour continues into 2020; for dates and cities,  visit JCS

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Saw it in Denver January 2024. I kept expecting the set to surprise me. But it was one of those raw sets where nothing moves, which I always find disappointing in a professional show. It looked good, but man I would have been thrilled if that big cross that they used as a stage rose up at the end. Nothing. I didn’t feel like there were too many standout performances and the choreography felt so robotic. I think all the singers holding microphones was weird and added to the music video vibe which I can see them going for, but it wasn’t working for us. Pilate, Caiaphas, and Judas were very good. I had never seen it live before, and didn’t really understand the point of that one dancer who stood out from everyone else and kind of thrusted her arms dramatically at everyone who was singing. What did she represent? I loved the silver-stained-hands idea for Judas. Mary didn’t have the passion I expected. I’m glad I saw it, but it didn’t wow me. Maybe they need to go back to its hippie/disco roots with the next revamp.

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Lockdown theatre review: Jesus Christ Superstar (2012 Arena Tour)

Jesus christ superstar takes to the “rock’n’roll” arena. it isn’t good..

“Why waste your breath moaning at the crowd? Nothing can be done to stop the shouting.” Amidst the deluge of theatrical content emerging online, it can be quite hard to make decisions about what to actually watch. Andrew Lloyd Webber’s release of the 2012 live arena tour of Jesus Christ Superstar stood out for me as though I did go and see it at the O2 , we were seated at the back of the cavernous space and so the opportunity to actually see what happened on the actors’ faces was enough to tempt me. Plus it’s Good Friday…

Pre-dating the Open Air Theatre’s revelatory restaging by three years, Laurence Connor’s restaging of ALW’s 1971 rock opera lays its contemporary allusions thickly (Occupy, Guantánamo, reality TV) but right from the start, you can see how superficial it is. A busy prologue full of kinetic energy references the Occupy movement strongly but as soon as the show proper starts, it’s as if it never happens, you could cut it and never know the difference.

And performance-wise, I really don’t think it is one for the ages. Fresh from winning the TV talent show Superstar , Ben Forster is palpably still feeling his way into his talent, not helped by this version capturing arena-style largesse in uncompromising detail. Subtlety is in short supply – Melanie Chisholm’s Mary Magdelene feels mis-cast, and in art as in life, the less said about Chris Moyles the better. Tim Minchin’s unique brand of anguish as Judas does register though, and Alex Hanson is naturally excellent as Pilate. But overall, I don’t think it is a treatment of the musical that stands up to rewatching unless you’re a huge fan. 

Jesus Christ Superstar is streaming for the next 48 hours here

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Jesus Christ Superstar: Live Arena Tour

Celebrating 40 years since it first opened in London's West End, Andrew Lloyd Webber's new production of Jesus Christ Superstar. Celebrating 40 years since it first opened in London's West End, Andrew Lloyd Webber's new production of Jesus Christ Superstar. Celebrating 40 years since it first opened in London's West End, Andrew Lloyd Webber's new production of Jesus Christ Superstar.

• Laurence Connor
• Tim Minchin
• Chris Moyles
• 15 User reviews
• 4 Critic reviews

• Mary Magdalane
• (as Melanie C.)

• Jesus Christ
• Pontius Pilate

• Simon Zealotes

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• Production, box office & more at IMDbPro

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• Trivia Tim Minchin was reportedly furious when he found out his voice was being auto-tuned.
• Goofs During the first act, Jesus' bracelets on his right wrist come and go throughout the numbers, from one camera angle to another, within a seconds. In the second act, they stay on his wrist.

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• Runtime 1 hour 45 minutes

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Digital Theatre review: Jesus Christ Superstar (2012 Arena Tour)

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Review: Jesus Christ Superstar, Wales Millennium Centre

Andy Howells reviews the UK tour of Jesus Christ Superstar playing Wales Millennium Centre’s Donald Gordon Theatre until February 3 and starring Ian McIntosh, Shem Omari James, Ryan O’ Donnell and Hannah Richardson.

Reimagined for London’s Regent’s Park Open Air Theatre, Jesus Christ Superstar won the 2017 Olivier Award for Best Musical Revival.  It is this version, now on tour and directed by Timothy Sheader, that plays Wales Millennium Centre this week.

I have witnessed several versions of Jesus Christ Superstar over the last 25 years, many of which tend to forsake the storylines superstar emphasis in favour of giving the narrative’s historical elements a more contemporary feel.

Sheader’s presentation of Jesus Christ Superstar packs a vibrant punch as Andrew Lloyd Webber and Tim Rice’s iconic music takes centre stage. The passion story telling the final weeks of the life of Jesus Christ (as seen through the eyes of Judas) blends into a contemporary rock concert setting. Ian McIntosh’s guitar-picking superstar persona becomes effectively fused with that of Jesus Christ.

Hannah Richardson (Mary Magdalene) emits emotion and feeling opposite McIntosh on Eveything’s Alright before delivering a heartfelt rendition of I Don’t Know How to Love Him.  Ryan O’ Donnell brilliantly channels a seasoned rock star as Pilate on Pilate’s Dream , while there’s a perfectly executed piece of ensemble performed cabaret on Herod’s song led by Timo Tatzber.

Jesus Christ Superstar’s strong imagery goes beyond its cross shaped stage platform. The Priests led by Matt Bateman’s Annas and Jad Habchi Caiaphas sport staff’s that flip into microphones, while Shem Omari James’ Judas literally becomes a marked man while handling the Priests blood money for betraying Jesus.

Drew McOnie’s effective choreography is among the outstanding features of this version of Jesus Christ Superstar . Witnessing the ensemble leap and thrash with verve through What’s The Buzz and Hosanna . In contrast, the ensemble deliver an awe inspiring statuesque effect inspired by a Da Vinci painting as McIntosh’s Jesus sings The Last Supper .

Blending rock music and musical theatre on a Biblical scale, Jesus Christ Superstar is unmissable, whether you’re an ardent follower or a new convert!

Jesus Christ S uperstar continues at Wales Millennium Centre’s Donald Gordon Theatre until February 3 . The production comes with an age guidance of 10+ and contains mature themes and depictions of violence. Jesus Christ Superstar runs for approximately 2 hours including an interval.

Read on: Ian McIntosh and Ryan O Donnell discuss “Current, real and relatable” Jesus Christ Superstar with Andy Howells

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Review: JESUS CHRIST SUPERSTAR Rises at the Ohio Theatre for 50th Anniversary Tour

BWW Review: JESUS CHRIST SUPERSTAR Rises at the Ohio Theatre

The iconic JESUS CHRIST SUPERSTAR rises triumphantly at the Ohio Theatre as part of its reimagined 50th Anniversary tour.  Returning to its rock-album roots with a focus more on rock music than story, the concert spectacle moves at a swift 90 minute pace with no intermission, proving to Columbus audiences that Jesus’ rockstar appeal is eternal, even at 50.

With award-winning productions on stage and screen since 1971, and featuring multiple successful recordings and radio broadcasts including Billboard Album of the Year, not to mention garnering the highest TV ratings and critical acclaim of any live musical event with over 9.6 million viewers, JESUS CHRIST SUPERSTAR is a proven musical phenomenon with a world-wide fan base.  This version strips down the story and instead celebrates the music that has spanned decades.

Featuring lyrics and music by Emmy, GRAMMY, Oscar, and Tony winners Tim Rice and  Andrew Lloyd Webber , the timeless score exudes a raw, fibrous power that portrays Christ’s tormented passion and Judas’s primal internal thoughts leading up to Christ’s death.

From the first stroke of the piercing electric strings to the relentless percussion in the overture which magnificently sets the tone for this heart-pounding concert, we undoubtedly have high expectations for the performers.  But do they live up to the hype?

While there were truly moments of greatness and vocal genius, if you’re expecting to watch a conventional musical theatre performance with a riveting story, you may be disappointed.  You will not be as emotionally connected to this version and will feel rushed through the scenes which lacks depth and character development.  This anniversary tour, directed by Timothy Sheader , is written, cast, and performed as a rock album with broadway-like lighting, stage effects, and choreography.  Even the singers perform using mic stands or hand-helds just as rock singers would.  

It is only when Mary takes the stage (especially in “I Don’t Know How to Love Him” – performed exquisitely by Jaden Dominique) that we are enveloped with the warmth and sincerity of her character which serves as an emotional breath between the high pitched screaming, violence, and torment of Christ and Judas.  Dominique delivers a true angst and yearning with a lush, glorious voice.

As Jesus,  Joshua Bess  initially presents more as a yoga instructor – lanky and timid, donning sloppy clothes and a man-bun.  It’s not until later in the show that we finally witness the power of his voice in “The Last Supper” and “Gethsemane.”  Elvie Ellis as Judas, on the other hand, has a powerful presence right from the start, masterfully commanding the stage with his appearance and vocal range while still portraying as a sympathetic character.

Grant Hodges (Caiaphas), Alex Stone (Pontius Pilate), and Alec Diem (Herod) all impressively deliver just the right amount of intensity to their respective roles, as does the entire cast.

The static industrial set design by Tom Scutt is simple yet effective, making use of scaffolding and steps with different levels for the singers and band.  The set also includes a large slanted cross laying on the ground for performers to walk on, climb over, or use as the table in The Last Supper.  The lighting is exactly as it should be – dark, ominous, and dramatic with flashes of light in true rock concert format.

Choreography by Drew McOnie is frenzied, vigorous, and challenging, but the ensemble/backup dancers consistently deliver in unison to perfection.  

The dramatic highlight of the show is the SUPERSTAR fanfare following Jesus’ brutal 39 lashes (used with gold glitter to represent the beatings).  Even if you lose the theme as a result of a rushed and condensed performance, you will most certainly feel the climax of that moment.

While lovers of the musical theatre production may be disappointed in the lack of story and character development, this energetic 50th Anniversary Tour is an adrenaline-filled rock concert that celebrates the legendary music and lyrics the way Sir Andrew and Tim Rice always intended.  If you are a fan of the music itself, you will love this show.

The reimagined 50th Anniversary tour of JESUS CHRIST SUPERSTAR is now playing at the Ohio Theatre in Columbus through October 8th. Tickets are available at www.BroadwayInColumbus.com , by calling 614-469-0939 or visiting the CBUSArts Ticket Center at the Ohio Theatre (39 E. State St.). Tickets start at $39. Ticket buyers are reminded that the Ohio Theatre, CAPA and www.BroadwayInColumbus.com are the only official retail ticket outlets for all performances at the Ohio Theatre.

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Review Jesus Christ Superstar, Uk Tour, Manchester

Last night, I spent what felt like 15 minutes being truly blown away by the powerhouse that is Jesus Christ Superstar. At the Palace Theatre Manchester, and wow. It’s been on my list for most of my life, one of those never quite-happens situations. 

You know the soundtrack and story; the final piece of the jigsaw is the production. And that’s when you realise the rest is incredible, but nothing prepared me for how blown away I would be on so many levels. 

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Jesus Christ Superstar Review

A little about jesus christ superstar.

The stage musical adaptation, known for its controversial reception, premiered in 1972 and became a classic with enduring songs like “I Don’t Know How to Love Him” and “Superstar.” Also made into a film in 1973. The rock opera’s legacy includes numerous revivals and tours, making it significant in musical theatre history.

What Is The Show About?

Jesus Christ Superstar tells the story of the last week of Jesus Christ’s life. Focusing on the conflicts among his followers and the political and religious tensions of the time. It explores the events leading up to Jesus’s crucifixion from the perspective of Judas Iscariot, one of his disciples.

The rock opera delves into the complex relationships and emotions of the characters, including Jesus (Ian McIntosh), Judas (Shem Omari James), Mary Magdalene (Hannah Richardson), Pontius Pilate (Ryan O’Donnell), Caiaphas (Jad Habchi), and King Herod (Julian Clary). 

It raises questions about faith, loyalty, and the nature of Jesus’s divinity. The story highlights the different perspectives and motivations of the characters, adding depth to the biblical narrative.

My Review of Jesus Christ Superstar

Jesus Christ, Superstar is multi-leveled; you need to know the story, which most of us do! Firstly, the tale of Jesus Christ and his last days. We grow up learning the stories celebrating his story, but to see it played out in such a way is almost harrowing; having the cruelty and deception played out in front of you is shocking. 

Having visited Jerusalem and walked the points of the cross, I found this more real than actually walking in the steps of Jesus. You can almost reach out and touch the overwhelming feeling of betrayal and the beauty of his soul. I am a believer but not religious if that makes sense, and this felt beautifully painful. 

But there is also the fundamental life element: you can see people you know in every character. I pinpointed my very own Jesus, Judas and Mary Magdelain. The people in your life who are there no matter what and the friends who smile at you whilst selling your granny at the local market. The whole experience felt profound. 

Stand Out Moments 

“I Don’t Know How to Love Him” is one of my favourite musical songs ever, and Hannah Richardson brought it home; it was breathtaking. “Gethsemane” Ian McIntosh delivered the number with heart and soul. It was simply stunning. 

Everything about Jesus Christ Superstar was off the scale; each act felt like it passed in a flash. It started with a bang, and the tempo never slowed. The choreography was perfect, as were the voices. 

Julian Clareys King Herod brought in a breeze of campness that is much needed in such a profound story. 

Should You See Jesus Christ Superstar?

The story relates to so much more than the story of Christ; it’s relatable to everyday situations and a piece of genius. To say the fact I have managed to get so much on the page is a miracle, as no show has ever got to me on such a level. It’s a profound piece of theatre. 

Where Can I See Jesus Christ Superstar?

It is playing at the Palace Theatre Manchester until Sat 23 Sep 2023 . Tickets are available from £13.00. Check out where to park near the Palace Theatre and if you are making a night of it, here are my restaurant suggestions.

It will then be showing at….

• King’s Theatre, Glasgow, Mon 16 Oct – Sat 21 Oct 2023
• Liverpool Empire, Mon 23 Oct – Sat 28 Oct 2023
• Milton Keynes Theatre, Mon 30 Oct – Sat 4 Nov 2023
• Bristol Hippodrome, Mon 11 Mar – Sat 16 Mar 2024
• Edinburgh Playhouse, Tue 6 Feb – Sat 10 Feb 2024
• Regent Theatre, Stoke-on-Trent, Mon 19 Feb – Sat 24 Feb 2024
• New Theatre Oxford, Mon 6 May – Sat 11 May 2024
• New Wimbledon Theatre, Mon 13 May – Sat 18 May 2024
• New Victoria Theatre, Woking, Mon 3 Jun – Sat 8 Jun 2024
• Sunderland Empire, Tue 11 Jun – Sat 15 Jun 2024
• Princess Theatre, Torquay, Tue 16 Jul – Sat 20 Jul 2024

Please note I was gifted the ticket in return for an honest review.

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Jesus Christ Superstar

An album that inspired a revolution. a revelation that changed the world. a reinvention for this millennium..

Timothy Sheader ( Crazy for You, Into the Woods ) directs this mesmerizing new production of the iconic global phenomenon, JESUS CHRIST SUPERSTAR which comes to Swansea Arena in April! Starring Ian McIntosh ( We Will Rock You, Follies, Beautiful: The Carole King Musical ) as Jesus, Shem Omari James ( Dreamgirls UK Tour ) as Judas and Hannah Richardson ( Sting’s The Last Ship ) as Mary. Originally staged by London’s Regent’s Park Open Air Theatre, this reimagined production won the 2017 Olivier Award for Best Musical Revival.

 Choreographed by Drew McOnie (King Kong, Strictly Ballroom), and with music and lyrics by multi-award winners Andrew Lloyd Webber  and Tim Rice, JESUS CHRISTSUPERSTAR is set during the final weeks in the life of Jesus Christ. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’ and ‘Gethsemane’.

Don’t miss your chance to see this “gorgeous, thrilling, heavenly musical.”–The Guardian. BOOK NOW!

Audio Described and BSL Interpreted Performance: Wed 3 Apr at 14:30 (Provided by Mind’s Eye & Donna Ruane at Theatre Sign, subject to change)

The appearance of any member of cast is subject to change and may be affected by contracts, holiday, illness, or events beyond the producers’ control.

Start the show early with our FSG Lounge Afternoon Tea Experience! Upgrade to a night in our FSG Lounge and enjoy a selection of scones, sweet treats and savoury nibbles before the show, as well as a private entrance, bar and washrooms. Simply add on at checkout, or  via this link to add to existing orders. Available on Matinee performances only.

Critics Reviews

Customer reviews.

AN ALBUM THAT INSPIRED A REVOLUTION. A REVELATION THAT CHANGED THE WORLD. A REINVENTION FOR THIS MILLENNIUM.

Jesus Christ Superstar is an iconic musical phenomenon with a world-wide fan base. In celebration of its 50 th  Anniversary, a new mesmerizing production comes to North America.

Originally staged by London’s Regent’s Park Open Air Theatre and helmed by the acclaimed director  Timothy Sheader ( Crazy for You , Into the Woods ) and award-winning choreographer  Drew McOnie ( King Kong , Strictly Ballroom ), this production won the 2017 Olivier Award for Best Musical Revival garnering unprecedented reviews and accolades.

Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring. Featuring award-winning music by  Andrew Lloyd Webber  and lyrics by  Tim Rice ,  Jesus Christ Superstar  is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.