Theatre review: Jesus Christ Superstar Manchester 2023

Launching its nationwide, year-long tour in Manchester, Jesus Christ Superstar is a triumphant revival of the musical first seen in 1971.

I did no research before heading to see Jesus Christ Superstar in Manchester last night. I know the story, of course, but putting it in the hands of Tim Rice and Andrew Lloyd Webber, who created a rock opera from what is often said to be the greatest story ever told, well, that could mean anything. 

Hannah Richardson, as Mary, in Jesus Christ Superstar (Image: Paul Coltas)The story starts within the last days of Jesus’s life. We see the cult-like devotion of his followers, the increasing scorn of Judas, his relationship with Mary Magdelene, his betrayal and subsequent crucifixion, in a fast-moving, often frantic, series of vignettes. If you don’t know the story, you have to concentrate to follow it. To be honest, if you do know the story you have to concentrate to follow it, and the full story was better known in the 1970s than today, I’d argue. (I tested my hypothesis on a sample of one 17-year-old this morning, and he claimed never to have heard of Judas. Sigh.) 

The cast pour on to the stage and give an immediate boost to the ambience in the theatre, their energy, quick movements and song dazzling and immediately gripping. Jesus, Judas and Mary are immediately apparent, but it’s the choreography and immense presence of the ensemble that grabs the attention, and continues to do so. These performers aren’t merely background movement, somg and colour, they’re an integral, intense, vital element to the success of this production, and oh my, do they commit. 

In a show loaded with immense vocal performances, there are some standout superstars in their own right. 

The ultimate betrayal. Judas (Shem Omari James) places the crown of thorns on the head of Jesus (Ian McIntosh) (Image: Paul Coltas)Ian McIntosh, in the role of Jesus, is extraordinary. The songs demand immense vocal range and power, and McIntosh delivers – not only in those moments when he pushes his skill to the limit, but in the delicate, heart-breaking moments when the audience almost holds its breath, as we see a man, not a god, facing his mortality. His Gethsemane is mid-blowingly good and left the audience silenced before immense applause. 

Jed Habchi, as Caiaphas, and Matt Batemen, as Annas, in their roles as the Pharisees who demand the execution of Jesus were brilliant. Projecting the power of the establishment, they stood firm, strode the stage, gave us fury and controlling persuasion by turns, eventually pushing Judas and then Pilate to the result they wanted. And we can’t talk talent without mentioning the rather marvellous Ryan O’Donnell, as Pilate, whose command of the stage drew all eyes even in a momentary, silent walk-on. He’s utterly brilliant and quite mesmerising. 

Hanna Richardson, as Mary, is also chock full of talent. Her voice soars, dips and thrills, and after her rendition of Everything’s Alright I was looking forward to what she did with I Don’t Know How to Love Him, but sadly felt oddly disappointed by it. There’s no doubt she has a truly beautiful voice, but I couldn’t catch any emotion, it felt more like she was so carefully putting herself into the song she didn’t feel the emotion, or understand the lyrics. She definitely made a comeback in Act Two, with a beautiful performance of Could We Start Again Please?  

Julian Clary, in the role of Herod, is a piece of genius casting (Image: Paul Coltas)Julian Clary takes the role of Herod in this tour, and wow, does he make an impression. Smoothing on stage in a metres long gold cape, he brings a moment of comic relief to the show, bringing Herod to life in his own, inimitable, wholly excellent way. A genius piece of casting, taking the sarcasm of Lloyd Webber’s lyrics to a whole new level. 

The set is minimal but clever – a walkway formed from a huge fallen crucifix, the live band set up on high, and not a lot else. It allows for grand entrances and fast coming and going, and the cast are often very, very fast. One moment to look out for is the arrangement of the Last Supper, when the cast have switched from their previously neutral colour scheme clothes to rich reds and blues, reminiscent of Da Vinci’s famous mural. And then...strike a pose. It’s a striking moment, that’s for sure. 

Knowing nothing before I went in (other than two songs) I left feeling energised and amazed. What an experience. The non-stop song, the often frenetic dance, the moments of passion and fury and of heartbreak and despair...just wow.  

This is not a show you will forget in a hurry. I loved it. 

Jesus Christ Superstar at Manchester Palace Theatre plays until 23 September 2023