“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.
There’s one single electrifying moment, where it finally feels like the
production has thought about the environment in which it is playing and
produces an image of searing simplicity and much needed raw emotion which plays
out to the back wall and beyond. It features Tim Minchin naturally, but too
often the detail in the show is just completely lost with the intermittent use
of the video wall that dominates Mark Fisher’s set design meaning that several
key moments are barely visible - the placing of the crown on Jesus’ head surely
being the most glaring omission.
And ultimately that is the problem with the show in a nutshell, it’s a piece of
theatre that wants to be a rock concert and ends up doing neither particularly
well. It is not enough to say “well you’re not in a theatre” to excuse it, the
fact is that a detailed piece of theatre is presented in front of us, not a
concert at all. This is a production that is more concerned with using video
effects on its screen for artistic impact, than ensuring that audience members –
some of whom are more than 300 metres from the stage in this venue – can actually
see what is going on and connect emotionally. That something so essential to an
arena tour has been overlooked is hard to fathom; that it is a theatre
production whose staging is so unconcerned with drawing in its audience is near
unforgivable.
Running time: 2 hours 15 minutes (with interval)
Programme cost: £10
Booking until 23rd September, then tours to Glasgow, Newcastle, Cardiff,
Birmingham, Manchester, Belfast, Dublin, Liverpool, Wembley, Nottingham and
Sheffield
Labels: Alexander Hanson, Ben Forster, Bob Harms, Gerard Bentall, Ian Carlyle, Leon Craig, Melanie Chisholm, Michael Pickering, Pete Gallagher, Phil Snowden, Ryan Gibb, Tim Minchin, Tim Prottey-Jones, Tom Parsons