In an unusual theatrical coincidence, two major productions of Oedipus were announced on the same day last year: Robert Icke’s sleek, modern-dress adaptation starring Mark Strong, which recently finished its West End run, and this Old Vic production, co-directed by Matthew Warchus with choreographer Hofesh Shechter. While Icke’s version turned the play into a tightly wound political thriller, this production leans into ritual and abstraction, combining stylised movement with moments of intimacy. The result is visually striking but ultimately uneven, a production full of bold ideas that don’t quite come together.

Hickson’s version emphasises Thebes’ suffering, particularly the impact of the city’s drought, with harrowing references to a mother killing her eldest son in a desperate attempt to escape the situation. But this sense of despair doesn’t always translate into the performances. Rami Malek, making his UK stage debut as Oedipus, has a commanding presence, but his delivery is often flat, lacking the urgency and psychological depth needed to drive the story. He frequently delivers his monologues into a microphone at the front of the stage, with little variation in tone or pacing, making key revelations feel oddly static. His interactions with Indira Varma’s Jocasta also feel strangely detached, and there’s little sense of the love, or later horror, that should define their relationship. This lack of connection extends to Oedipus’ relationship with his daughter, Antigone, which feels strangely, and I think perhaps unintentionally, cold.

It’s always a treat to see Cecilia Noble, who brings some much-needed weight to the drama as the blind seer Tiresias; although even this key scene feels a little diluted in its delivery when it should be setting up the turmoil that’s to follow. Nicholas Khan as Creon (which Hickson seems to have combined with the Priest and Chorus’ lines) has a dignified presence, although bar one peculiar bit of stage fighting with Malek seems to also lack much emotional impact. Likewise, the Corinthian messenger and Shepherd (Joseph Mydell and Nicholas Woodeson, respectively) two figures who should bring a sense of growing dread as the truth emerges, seem oddly unaffected given the gravity of what they reveal. The production as a whole struggles to maintain a sense of urgency, meaning the psychological unravelling that makes Oedipus so gripping never fully takes hold.

The decision to replace the traditional choral odes with contemporary dance, choreographed by Shechter, is one of the boldest aspects of this production. The chorus – performed by dancers from the Hofesh Shechter Company – expresses the city’s suffering through movement rather than words, accompanied by a pulsing score of tribal drums and techno beats that give these transitions a rave-like quality. The choreography is impressive in isolation – dancers writhe in agony, reach desperately for freedom, and finally move as one in the rain – but it feels disconnected from the main narrative. Instead of deepening the emotional impact, these sequences often break up the pacing, making it harder for tension to build.

Hickson also makes the choice to stage many key scenes in a private space between Oedipus and Jocasta, seemingly to create intimacy between the pair, but this instead isolates them from the wider action, further emphasising the disconnect between the chorus and the central drama. The pacing feels fractured, with the play often stopping and starting rather than gaining momentum.

Visually, Rae Smith’s set design with lighting by Tom Visser has some compelling moments. The stage is struck with sharp-bordered red, white or blue lighting, with a dark orange sun looming in the background, a constant reminder of Thebes’ suffering. Jocasta’s red dress stands out starkly against the black surroundings, foreshadowing the bloodshed to come. The most visually striking moment arrives after the truth is revealed, when rain finally arrives and pours heavily onto the dancers, their light clothing becoming soaked as they move through it.

However, while the production’s aesthetics are often beautiful, they can’t compensate for the lack of narrative drive. Right at the end, Oedipus asks if the people are better now, to which the chorus turn their heads slowly towards the audience leaving a note of ambiguity. But the production itself never fully earns the weight of the question. Oedipus should be a relentless march towards the truth, each revelation adding to its inevitable doom. Instead, this version struggles to sustain its dramatic tension, its detached ideas never quite forming a cohesive whole.

Review by Joseph Dunitz

‘Vengeance will be taken on the killer, then the land will be clean. The contamination will be washed away. The rains will come and the people will be healed.’

It’s a cold case but, according to the Oracle, if the murderer of old King Laius is found and punished then all will be well. The people turn to their new King, Oedipus, the man who solved the riddle of the Sphinx, to hunt down the perpetrator and bring salvation. He vows to succeed whatever the cost and so begins an unstoppable pursuit of the truth through a harrowing labyrinth of fear and love.

CAST
Rami Malek – Oedipus
Indira Varma – Jocasta
Fayez Bakhsh – Understudy Oedipus/Creon
Paul Easom – Understudy Corinthian/Shepherd
Nicholas Khan – Creon
Joseph Mydell – Corinthian
Cecilia Noble – Tiresias
Sarah Priddy – Understudy Jocasta/Tiresias
Nicholas Woodeson – Shepherd
Justine Gouache, Charles Heinrich, Kenny Wing Tao Ho, Adam Khazmuradov, Kim Kohlmann, Oscar Jinghu Li, Yen-Ching Lin, Rachelle Scott, Jian-Hui Wang, Zee Zunnur – Dancers
Róisin Bhalla, Amandeep Panesar, Asha Thakrar – Antigone
Annika Chugh, Rosa Neill-Chetty, Amelia Valentina Pankhania – Ismene

CREATIVE
Written by Sophocles, in a new adaptation by Ella Hickson
Hofesh Shechter – Co-Director, Choreographer and Music
Matthew Warcus – Co-director
Rae Smith – Set and Costume
Tom Visser – Lighting
Christopher Shutt – Sound
Lilac Yosiphon – Associate Director

OEDIPUS
The Old Vic
21 January to 29 March 2025

A last-minute decision to catch Séayoncé’s Res-Erection in 2021 turned into one of the most hilarious post-lockdown evenings of cabaret-cum-theatre I could have hoped for. Now, fresh from an American tour, Dan Wye’s fabulous creation is back by popular demand, entertaining audiences at Hackney’s Yard Theatre in their longest London run to date. Séayoncé’s Perky Nativititties is a festive riot of unhinged hilarity – an anti-Christmas extravaganza that somehow manages to be both absurdly irreverent and genuinely festive.

The first act begins with Séayoncé (Dan Wye) and their co-star Leslie (Robyn Herfellow) attempting to create a chaotic, anti-Christmas broadcast. However, their plans are repeatedly derailed by “live camera” cutaways, where they hilariously become possessed by satanic forces. Bah cumbug, indeed! Without giving too much away (if such a thing is possible; you’re really not here for the plot!), things escalate when they discover the ominously named TV network, “Satan,” is actually… Santa spelled backwards. (It’s not, but by this point most of the crowd are a few drinks in and fully embracing the chaos.) Act Two takes this premise to the next level, sending Séayoncé and a once-trained-jazz-pianist-now-man-hating-Santa-actor-killing Leslie on a quest to murder Santa himself.

Plot, however, is beside the point. The real joy lies in the barrage of filthy innuendo, parodied festive songs (with zero choreography, as Séayoncé proudly announces), and spontaneous audience interactions. Wye’s Séayoncé persona masterfully balances surrealism with a knowing self-awareness, drawing the audience in to laugh both with the show and at its own ridiculousness. Herfellow, meanwhile, is a perfect foil, delivering dark, dry humour and underscoring the madness with their sparkling piano accompaniment. The pair’s contrasting yet complementary chemistry is the beating heart of the show, a dynamic so bizarre it’s impossible not to love.

Visually, the production surprises with its festive charm: a cozy living-room set complete with a plush armchair, Christmas decorations, and a Christmas tree that Séayoncé towers over in a recurring gag. Papier-mâché cameras add opportunity for some particularly funny physical comedy.

It’s hard to say exactly what happens for the near-two-hour run time, but you’re not left bored for a single moment. From the brilliantly bonkers “12 Days of Christmas” routine about Santa’s demise to a giant inflatable Santa getting taken down with nerf guns and even a song about Santa having sex with your pets, the whole thing is the best kind of unhinged queer chaos, and you can’t help but get into the festive spirit in the company of the two delightful performers.

Gloriously bonkers and unapologetically camp, Séayoncé’s Perky Nativititties is a delight from start to finish and might just have a bit more of a pro-Christmas agenda than the narrative would suggest.

Review by Joseph Dunitz

Fresh from an American tour and a successful Edinburgh fringe run, Dan Wye’s legendary comic creation is back by overwhelming popular demand. This year, Séayoncé is pulling out all the stops to deliver the nation’s most outrageous televised Christmas special – a holiday classique that promises to catapult even the most angelic souls straight onto Santa’s naughty list and plunge them headfirst into the fistive spirit!

The majestic mystic Séayoncé and her merry mischievous accomplice Leslie-Ann (aka Robyn Herfellow) present the only gift you won’t need the receipt for, so spruce up those chimneys ready for this dastardly duo to come down and empty their big ole sacks!

Dan Wye is an award-winning multidisciplinary artist and one of the country’s most prominent comedy/cabaret performers. As creator of the critically acclaimed ghost-whisperer character Séayoncé, their work has taken them to some of the most acclaimed arts venues and festivals including the Edinburgh Fringe, Glastonbury, Soho Theatre, Underbelly Festival, The Globe, the National Theatre and the Royal Opera House. As well as internationally to The Public Theatre New York, The Elysian Theatre Los Angeles, The Adelaide and Melbourne Fringe Festival, Sydney World Pride and The Palace in Poland. Their work allows them to collaborate with some of the biggest names in comedy and cabaret and elevate queer performance to the masses.

Rebel panty-san Robyn Herfellow brings joy and chaos to the cabaret as Leslie-Ann, Séayoncé’s murderous, man-hating pianist. Making mischief in musical comedy, they a-rouse the lingerie revolution with their bum notes. Once a jazz-trained pianist, Robyn is now a lethal instrument of the fishnet apocalypse.

SÉAYONCÉ’S PERKY NATIVITITTIES
The Yard Theatre, Unit 2a Queen’s Yard, London E9 5EN
4 to 21 December 2024

Nathan Englander’s new play, based on his 2012 short story collection, opens at London’s Marylebone Theatre after its 2019 premiere in San Diego. The story follows secular Jewish couple Phil (Joshua Malina) and Debbie (Caroline Catz) as they receive a visit from Debbie’s ultra-Orthodox childhood friend Shoshana (Dorothea Myer-Bennett) and her husband, Yerucham (Simon Yadoo). Shoshana and Yerucham, now living in Israel with their eight children, clash ideologically with Phil and Debbie, who are raising their only son, Trevor (Gabriel Howell), a 19-year-old on a gap year trying to “find himself”. What begins as a friendly reunion spirals into an evening of intense debate on everything from parenting and intermarriage to the ever-present conflict in the Middle East.

While the Israel-Palestine debate fuels much of the tension, the characters also delve into broader issues, including generational trauma and Jewish identity. Englander, in a recent interview, mentioned his interest in what it means to grow up as a “child of survivors”. This theme is explored primarily through Trevor, who has rebelled against his Jewish roots, claiming he now follows a new religion that replaces God with a plate of spaghetti meatballs. He breaks the fourth wall, interrupting the opening klezmer music (as part of David Gregory’s sound design) with an annoyed command to the sound operator; an irreverent moment that becomes a motif throughout the play as Trevor introduces scenes with sarcastic comments and teenage angst. This device keeps the audience grounded in his perspective; the eyes of a young Jew shaped by generational Holocaust trauma.

The tension between the couples is sharply drawn. Yerucham accuses Phil and Debbie, like all American Jews, of being “obsessed” with the Holocaust, unable to move beyond the trauma; whereas he believes the future of Judaism lies in Israel. Phil and Debbie are far more conflicted, particularly about Israel’s actions in response to the October 7th attack. While one couple defends Israel’s right to retaliate, the other questions and disputes its justification.

Anna Fleischle’s set design consists of the skeleton of a home, white-greyish borders to show where walls and doors might be; two white kitchen units in the middle of the floor, joined together by a table and two seating units; a background of large, blue textured squares, which overlap to create dark rectangular shadows. The design subtly reinforces the idea that, for Jews, “home” is often a fraught concept. Fleischle’s house is like a show home, with not much personalisation and everything having its place. Shoshana reminds Debbie that Jerusalem will always open its door to her, but she refuses even a visit.

Englander’s play is at once deadly serious and darkly funny. Described as a “serious comedy,” the script is full of humour that hits uncomfortably close to the bone. There’s a section of Holocaust-themed ice cream puns that leaves the audience unsure whether to laugh, gasp, or remain in shocked silence. Whilst uncomfortable, it plays into the idea that Jews are encouraged to never forget, and if humour is the way to do that then so be it.

As for the performances, the entire cast are superb. Malina and Catz bring a believable, worn-in chemistry to Phil and Debbie’s marriage, capturing the rhythm of a couple who have been together for years, even in their disagreements. Myer-Bennett, as Shoshana, is smoothly composed, her calm demeanour standing in stark contrast to the rising tensions; whether this is due to her marijuana use or her ability to move past trauma is left for the audience to decide. Yadoo’s Yerucham begins as warm and humorous but later reveals a more aggressive, dogmatic side. Together, they keep the rapid-fire dialogue sharp and engaging.

The play is essentially two hours of heated arguments, yet it’s totally compelling. Yerucham claims there’s only one type of Jew, but the debate proves otherwise, exposing the many layers and contradictions within Jewish identity. In the final act, the couples play a chilling game, asking each other if they would hide one another from the Nazis in a hypothetical repeat of history. It’s a sobering reminder that, despite all their differences, a Jew is always a Jew in the eyes of their oppressors. The script does, on occasion, feel a bit like it’s starting to go around in circles, but then even that in itself highlights the major issue with many of the arguments within the community; that solutions and compromise often feel totally out of reach. A moment of compromise towards the end of the play offers a small glimmer of hope towards a peaceful future.

Marber’s production is both unsettling and urgent, masterfully balancing dark humour with emotional poignancy. As a Jewish member of the audience, it really did make me think about my own friends, and who of them would legitimately risk their safety to protect mine. This play is not just timely; it’s essential viewing.

Review by Joseph Dunitz

“Who in your life would you trust to keep you alive? And who do you know who would risk their own life for yours?”

WHAT – A serious new comedy.
WE – Two Jewish couples; one secular, the other ultra-Orthodox.
TALK – The argument none of them meant to have.
ABOUT – Identity, Politics, Parenthood and Getting High.
WHEN – Present day Florida.
WE – A college dropout who claims to be a ‘Pastafarian’.
TALK – Provocative, Hilarious, Painful, Honest.
ABOUT – Gaza, Israel, the Holocaust, Nazis, Marriage, Sex.
ANNE – A nice Jewish girl…
FRANK – is not in this play.

CAST
Phil – Joshua Malina
Debbie – Caroline Catz
Shoshana – Dorothea Myer-Bennett
Yerucham – Simon Yadoo
Trevor – Gabriel Howell

CREATIVES
Writer – Nathan Englander
Director – Patrick Marber
Designer – Anna Fleischle
Lighting Designer – Sally Ferguson
Sound Designer – David Gregory
Associate Director – Natalie Simone
Associate Designer – Angelica Rush
Movement Director – Ed Boyle

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK
Marylebone Theatre
4 October to 23 November 2024

I must admit, I never jumped aboard the Heathers bandwagon when it first arrived on the musical theatre scene in the mid-2010s. However, just like the 1980s film on which it’s based, it’s developed quite the cult following, and is currently stopping off at Richmond Theatre as part of a UK Tour.

The black comedy follows Veronica Sawyer (Jenna Innes), a 17-year-old high schooler who, thanks to her talent for forging handwriting, gains entry into the exclusive clique of Heathers: Heather Chandler (Esme Bowdler), Heather Duke (Sedona Sky), and Heather McNamara (Daisy Twells). Veronica’s world takes a sharp turn when she falls for new student J.D. (Keelan McAuley), and what begins as high school drama escalates into full-blown chaos when he persuades her to poison Chandler. It’s a pretty wild ride from that point on.

The production has its high points. Gary Lloyd’s choreography in ‘Candy Store’ is slick and stylish, ‘My Dead Gay Son’ is an absolute hoot, and Amy Miles really gets a chance to show off her vocals with ‘Kindergarten Boyfriend’ in the second act. Lots of the other songs though feel quite tired in their staging. With its surreal and darkly comic tone, the production could benefit from more playful and satirical choreography and characterisation. The opening number, for instance, doesn’t do enough to capture the audience’s attention or set the tone properly. The second half of Act One also suffers from some real pacing issues, which could do more to emphasise key plot points and character shifts.

The company take a bit of time to warm up, but Innes does get there by the end of the first half, and there’s a real transformation by the Act One finale. Likewise, McAuley begins as a mysterious outsider, and the character isn’t particularly compelling at first, but this takes a real turn as J.D.’s dark past comes to light, with McAuley shifting into the true villain of the show which he plays with a menacing quality. The smooth tone of his voice which charms us in ‘Freeze Your Brain’ adopts a terrifying growl in ‘Meant To Be Yours’, in which he expresses his heinous plans.

Twells gets a bit lost in the background but finally gets a chance to shine and show off her stunning vocals in ‘Lifeboat’. Conor McFarlane brings a great injection of comedy as he sings about his ‘Dead Gay Son’ and Bowdler brings a fierce edge to Heather Chandler, though a bit more range in her portrayal could elevate the character further.

David Shields’ set sees the bricked background of Westerberg High School, with other set pieces wheeled in to take us to the various other settings in the story. Ben Cracknell’s lighting design is dynamic and colourful, doing well to cover the fact that the main set stays consistent throughout the whole show.

Whilst Heathers delivers some entertaining moments, the production as a whole feels somewhat uneven. The tonal shifts between dark satire and heartfelt drama don’t always land as effectively as they could, and some pacing issues hinder the story’s momentum. Despite this, there are flashes of brilliance, particularly from Miles whose number is probably the one I’ll still be thinking about in a few weeks’ time. Having now seen the production, I still don’t think I’ll be joining the bandwagon anytime soon, although I might give the film a watch to see what it’s like in comparison.

Review by Joseph Dunitz

Greetings and salutations! Welcome to Westerberg High, where popularity is a matter of life and death, and Veronica Sawyer is just another of the nobodies dreaming of a better day.

But when she’s unexpectedly taken under the wings of the three beautiful and impossibly cruel Heathers, her dreams of popularity finally start to come true.

That is until JD, the mysterious teen rebel, turns up and teaches her that it might kill to be a nobody, but its murder being a somebody.

The 2024 class of Westerberg is led by Jenna Innes (Les Miserables) making it beautiful in blue returning as Veronica Sawyer, having wowed audiences up and down the country last year when she first took on the role. She will be joined by Keelan McAuley (Clueless; Grease) taking on the mysterious, Jason “J.D” Dean.

Starring as the titular ‘Heathers’ are Esme Bowdler (ITV’s I have a Dream finalist) as the formidable Heather Chandler, Sedona Sky (professional debut) as Heather Duke and Daisy Twells (Heathers) as Heather McNamara.

The 2024 register is completed by Amy Miles (professional debut) as Martha Dunnstock, Lucy Sinclair (Rehab the Musical, We will Rock You) as Ms. Fleming/Veronica’s Mom, Iván Fernández González (Bhangra Nation; Joseph) as Kurt Kelly, Jason Battersby (Just for One Day) as Ram Sweeney, Alexander Service (Heathers) as Kurt’s Dad/Veronica’s Dad/Principal, Conor McFarlane (Once; Heathers) as Ram’s Dad/Big-Bud/Coach, Ben Fenwick (Pippin in Concert) as Beleaguered Geek, Madeleine Hargrave (Hairspray) as Midwestern Surfer Punk, Eliza Bowden (Heathers) as New Wave Party Girl, May Tether (Very Very Bad Cinderella; Heathers) as Drama Club Drama Queen, Jasmine Cole (Crazy Coqs Cabaret) as Young Republicanette, Kelly Sweeney (Six (NCL); Hair) – as Stoner Chick, Lewis Asquith (Heathers) as Hipster Dork and Bradly Doko (Sideshow in Concert) as Preppy Stud.

Book, Music and Lyrics Kevin Murphy & Laurence O’Keefe
Based on a film by Daniel Waters
Directed by Andy Fickman
Choreography and Associate Director Gary Lloyd
Associate Choreographer Chris Parkinson
Design by David Shields
Lighting by Ben Cracknell
Sound by Dan Samson
Musical Director Will Joy
Associate Musical Director Jeremy Wootton

Bill Kenwright Ltd and Paul Taylor-Mills present
HEATHERS THE MUSICAL
Richmond Theatre, 8 to 12 October 2024, then UK tour continues to 23 November 2024

The Rocky Horror Show has hit the UK tour circuit with its latest stop at the Dominion Theatre in London. Originally met with mixed reviews upon its debut in the 1970s, this cult classic has since become a global phenomenon, captivating audiences worldwide.

The plot kicks off when newly engaged couple Brad (Connor Carson) and Janet (Lauren Chia) experience a car breakdown en route to visit an old friend. Seeking refuge in a foreboding castle, they encounter an assortment of quirky characters, led by the pansexual, cross-dressing, mad-scientist Frank N Furter. What ensues is a chaotic and exhilarating fever dream where inhibitions are let loose and the once-innocent couple’s lives are irrevocably altered.

Jason Donovan steps into the high-heeled shoes of Frank N Furter with an undeniable flair. Having begun his performance on the Australian tour last year, Donovan embodies the role with a seductive allure, his movements and vocals brimming with both charisma and raw energy. He works an audience just as well as his character works the virginal Brad and Janet, encouraging us to get involved and playing the line very carefully between horror and humour. He is totally at ease with the character, which makes it a truly electrifying performance.

Nathan M. Wright’s choreography is sharp and dynamic, the ensemble moving almost as a single entity in all of the big dance numbers, without an arm, face or foot feeling out of place. This gives the ensemble an almost mechanical, slightly uncanny quality, which feeds nicely into the unsettling nature of the show itself and the sci-fi themes that emerge through the story.

Hugh Durrant’s set design, featuring a large star cloth and cleverly engineered panels, facilitates seamless transitions between the castle’s various locations. Nick Richings’ bold lighting design bathes the stage in a vibrant spectrum of colours, while Gareth Owen’s sound design ensures the rock score’s electrifying energy is captured with clarity and punch.

I always find the second half of the story a bit more of a struggle. There isn’t much to the story and the second act’s songs aren’t quite as strong as the first’s. “The Time Warp” and “Sweet Transvestite” are obvious classics, the first of which gets the whole audience up on their feet and dancing along. Chia is excellent in the second act’s “Touch-a, Touch-a, Touch-a, Touch Me” and transforming Janet from a demure figure to a liberated thrill-seeker. You sort of have to just go along for the ride and not take anything too seriously for the rest of the show.

The real highlight of this production is the vibrant participation from the audience. Tonight, the presence of devoted Rocky Horror fans added an extra layer of excitement, with their enthusiastic interactions feeling not just welcome but practically necessary at certain moments, in some scenes interjecting the scripted dialogue nearly every other line with improvised quips. They even brought their own light-up props! Mawaan Rizwan, as the Narrator, thrived on this engagement, exuding a playful charm with a cheeky glint in his eye.

The Rocky Horror Show delivers a raucous, visually striking, and engaging experience. It’s definitely worth catching on tour, just make sure to take full advantage of the bar during the interval!

Review by Joseph Dunitz

Having been seen by over 35 million theatregoers, The Rocky Horror Show is the story of two squeaky clean college kids – Brad and his fiancée Janet. When by a twist of fate, their car breaks down outside a creepy mansion whilst on their way to visit their former college professor, they meet the charismatic Dr Frank’n’Furter. It is an adventure they’ll never forget, filled with fun, frolics, frocks, and frivolity.

CAST
Jason Donovan – Frank-N-Furter
Lauren Chia – Janet
Connor Carson – Brad
Job Greuter – Riff Raff
Mawaan Rizwan – Narrator
Natasha Hoeberigs – Magneta/Usherette
Jayme-Lee Zanoncelli – Columbia
Morgan Jackson – Rocky
Edward Bullingham – Eddie/Dr. Scott
Ryan Carter-Wilson, Arthur Janes, Hollie Nelson, Erica Wild – Phantoms
Alex Hetherington, Stacey Monahan – Swings

CREATIVES
Richard O’Brien – Writer
Christopher Luscombe – Director
Hugh Durrant – Design
Sue Blane – Costume Designer
Nathan M. Wright – Choreographer
Nick Richings – Lighting Designer
Gareth Owen – Sound Designer

THE ROCKY HORROR SHOW
Dominion Theatre, Tottenham Court Road
6 to 20 September 2024
UK Tour continues to 30 August 2025

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ROCKY HORROR SHOW 2024/2025 UK TOUR DATES

Timothy Sheader’s production of Andrew Lloyd Webber’s Jesus Christ Superstar was initially conceived for Regent’s Park Open Air Theatre in 2016. Since then, it has returned to Regent’s Park, had a transfer to the Barbican, and is now on tour around the UK; this week, making a stop in London at the New Wimbledon Theatre.

It’s perhaps not surprising that the production started off as a concept album; the story of Jesus’ final few days leading up to his crucifixion doesn’t seem the most obvious pitch for an all-singing, all-dancing, jazz-hands sort of musical. The music however is epic and electric. Under Tom Deering’s musical supervision, Lloyd Webber’s score blasts through the auditorium, with sharp, high-pitched strings that echo the screams and cries of Jesus and the other characters. It really lifts you off your seat and strikes you with very raw emotion. Less successful is the sound mix of the microphones. Lyrics are tricky to hear at times, and whether that’s an issue with the levels or just a general diction problem across the cast is hard to be sure of. I must admit, I fall into the category of people who know practically nothing about the actual story here, so was relying quite heavily on the storytelling from the production to make sense of it all, and with quite a lot of lyrics hard to understand it does become tricky to follow.

Drew McOnie (who has recently taken over from Sheader as Artistic Director of Regent’s Park) choreographs this production, with an ensemble whose movement is highly contemporary and stylised, sometimes moving as one, pulsing, or creating different shapes, with a noticeable featuring of hands often at the forefront of the movement. A nice touch of symbolism there. McOnie’s choreography works in tandem with Lee Curran’s lighting design, with both elements giving the production a real sense of movement. Curran’s design is dark and hazy, with bold washes of blue, red, or more misty purple setting the tone. There’s also a striking use of bright white lights which climb up a tall cross-shaped structure at the back of the stage in Tom Scutt’s set design; the cross cleverly mirrored in a platform on the stage itself. Scutt’s costume design features loose-fitting, muted-coloured clothing, which also blends nicely with the other design elements; a bit of colour is then introduced with red and dark blue blankets in the second act, as the threat of death gets closer and closer.

Ian McIntosh as Jesus certainly has the vocals for this role. However, his performance in the first act is a little lacking. It’s hard to follow his emotional arc until he’s being whipped in the second act, which is when he really does start to emote. The same goes for Shem Omari James as Judas and Hannah Richardson as Mary. James seems to burst onto the stage in a state of wonder, anger or passion, but it’s not very clear what his wants or desires are in relation to the story. Once again though, his vocals are spectacular. Richardson’s version of ‘I Don’t Know How to Love Him’ is beautifully sung, vocally flawless, but the emotions don’t seem very believable as she sings her conflict “I want him so” though “He scares me so“. Given the dynamism of the choreography and the consistency of understated performances from the leads, this possibly sits more with Sheader’s direction than the actors themselves. His production very much embraces the concept album origins of the work, leaning into the gig nature of the production, with actors holding hand mics and Herod’s men even using microphone hands as weapons at one point. This allows for a particularly effective ending as Jesus is attached to a microphone stands for his crucifixion, his body and face all bloodied.

I think it’s a shame in such a visually exciting production that the story is so lost. That being said, the visuals and the music manage to make it still a wonderfully entertaining evening, and in particular a real celebration of Lloyd Webber’s fantastic score.

Review by Joseph Dunitz

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, garnering unprecedented reviews and accolades.

Choreographed by Drew McOnie (King Kong, Strictly Ballroom), with music and lyrics by Andrew Lloyd Webber and 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’. Directed by Timothy Sheader, with design by Tom Scutt, lighting design by Lee Curran, sound design by Nick Lidster and music supervision by Tom Deering.

New Wimbledon Theatre
Monday 13 to Saturday 18 May 2024
1 hour 50 minutes incl. interval
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