Review by Charlotte Shepherd:

AS SOON as the haunting electric guitar filled the auditorium during the overture of Jesus Christ Superstar at the Bristol Hippodrome last night, I knew that I was in for a theatre experience to remember.

It turned out to be a night of high emotion. The apostles’ positivity in Act One, gives way in Act two to a darkness and despair, ending with a crucifixion scene that will live on in the memory.

It tells the story of the last seven days in the life of Jesus Christ and the characters, especially Judas Iscariot and Jesus, wear their emotions firmly on their long-robed sleeves.

I will admit now to being a huge fan, and the rock album from the 1970s was a regular on the turntable when I was a child.

The fact that I remembered every single word of the songs came as a surprise to me but shouldn’t have – every song in the Tim Rice and Andrew Llloyd Webber rock opera is a gem and moves the story along at a cracking pace.

This production, directed by and produced by Bill Kenwright, stars Glenn Carter as Jesus Christ. He is no stranger to the iconic role, having played him on the West End, Broadway and on film.

His vocal range was stunning and the closing song of Act One, ‘Gethsemane’, was an absolute triumph of emotion as Jesus realised that the end was near.

Australian star, Tim Rogers, played the troubled Judas Iscariot brilliantly. He lacked a vocal power at times, but his acting was spot on.  

This cast had many stand-out star turns. X-factor finalist, 23-year-old Rachel Adedeji played Mary Magdelene with a beautiful gentleness. Her rendition of ‘I don’t know how to love him’ was sweet and fresh.

By contrast Cavin Cornwall (Caiaphas) was as hard as nails, with an incredible deep voice and a menacing stage presence.

Johnathan Tweedie (Pontius Pilate) brought a nervousness to his role. This was a man making harsh decisions, but looking for a way out.

When needed the show had an energy thanks to choreography from Carole Todd. ‘What’s the buzz’; was a particular favourite in Act One.

And King Herod (Tom Gilling) punctuated the menace and darkness of Act Two with the absurdness of Herod’s Song. Look out for the nipple tassles!

The staging was a particular highlight. It was simple  - giant columns at the side, a huge door at the back through which the body of Jesus was carried, and an enormous willow crown hanging centre stage above everything.

Lighting, designed by Dan Simpson, was brilliant and was used to turn the body of Jesus during the crucifixion scene grey and lifeless.

The crucifixion scene itself was unsettling to say the least. With the sound effects of nails being hammered in, and the use of lighting, there was a lot of nervous shifting going on in the seats around me.

The triumphant return of Jesus to the stage at the end was even better received.

A standing ovation for this first night at Bristol was a given.

This was the first show in a long time that I did not want to end and I felt “Could We Start Again Please?”

 

  • Jesus Christ Superstar is at The Bristol Hippodrome until Saturday, July 25. Go to atgtickets.com for more.