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.
Continue reading “Lockdown theatre review: Jesus Christ Superstar (2012 Arena Tour)”
“Sometimes you need to hear it Sam”
Given the fortunes of its replacement at the Piccadilly Theatre, the 15 month West End run of Ghost the musical doesn’t seem too bad at all in the end. Based on the famous 1990 film with book by Bruce Joel Rubin and music from Dave Stewart and Glen Ballard, the story of psychics, possession and pottery certainly looked impressive in Matthew Warchus’ cinematically flash production but this wasn’t always enough to overcome the shortcomings of its adaptation. But it was a show that intrigued and one that I came to like quite a lot (I saw it twice – reviews can be read here and here but the first review of the show on here, from its original Manchester run, comes courtesy of my father!) and so I was certainly intrigued to catch it at the New Wimbledon Theatre as it sets out on a major UK tour.
The main difference comes with the blessed removal of the heinous song and dance routine ‘Ball of Wax’. I’m not sure that tap dancing ghosts have any place in the world but they really stood out like a sore thumb in the original show with their misguided appearance coming at an appallingly bad time, right after Sam’s death and shattering any poignancy that might have been built up. Now, we get a much mellower song called ‘You Gotta Let Go’ (first introduced on Broadway) which serves the same purpose of getting him acquainted with his new status in the afterlife. Other changes are subtler and by and large, the show feels rather akin to its West End predecessor. Continue reading “Review: Ghost the musical, New Wimbledon”
“Tell the mob who sing your song that they are fools and they are wrong”
Having gone down the road of television casting once again for one of his shows and quite possibly killing off the genre at the same time, Andrew Lloyd-Webber’s much-touted revival of his 1971 rock opera Jesus Christ Superstar will hopefully have the same effect on staging theatrical productions in cavernous arenas like London’s O2. Director Laurence Connor’s concept has been to relocate the loose retelling of Jesus’ last week to a modern-day context, pulling out strong allusions to the Occupy movement, riots, Guantánamo Bay and reality television.
Tim Minchin’s Judas is the undoubted highlight of the show, a stirringly confident rock vocal of fierce conviction that near perfectly captures the essence of what Lloyd-Webber is trying to achieve but elsewhere there is much less strength. Ben Forster’s Jesus mauls Gethsemane almost beyond recognition but fares better elsewhere where his falsetto is more aptly deployed and his angst not so overplayed; Melanie Chisholm’s goth take on Mary Magdalene is anaemically thin and utterly forgettable; Chris Moyles’ highly gimmicky Jerry Springer-esque King Herod – he hosts a show called Hark! with Herod, a rare flash of genuine humour – is thankfully brief; Alex Hanson’s Pilate is a quality performance that stands out from a hard-working ensemble, but too often the wide lens of the show means that their efforts pass by unnoticed. Continue reading “Review: Jesus Christ Superstar, O2 Arena”