Jesus Christ Superstar - Regents Park Open Air / Barbican

Haven't seen JCS live since the 1990s so really looking forward to seeing this production in Aug.

But what is a historically accurate JCS? Even the most iconic images of what the world perceives as Jesus are based on European attire worn during the Renaissance. The score and its references are anachronistic and "concept" to begin with, and so a literal and "historically accurate" setting would fall flat.

Didn't watch JCS in the stadium, but have watched the DVD a few times since and don't feel it's as bad as people make out.
Tim Minchin is great as Judas (would love to see him reprise this role sometime) and I quite liked Mel C's IDKHTLH.

I thought this was the best production of JCS that I had seen (when I saw it in at Regent's Park) since the Lyceum production. Only those two have ever done it for me. Otherwise I find the director ruins it or it just doesn't come across as dramatic enough to work on stage. Somehow these two productions were able to conceal its album origins and make it a dramatic work that looked good on stage. I didn't care for the revised Gale Edwards one, or the last Broadway revival. And certainly not Bill Kenwright's awful tour.

So, for anybody who hasn't booked yet, get yourself along to the Barbican for a stunning Jesus Christ Superstar. No spoilers, though the intro was fantastic. I'll leave you to make your own minds up, but if you loved Tyrone Huntley, then you ain't heard/seen nothing yet. And Declan Bennett's vocal limitations have been put to bed by a new, better, and more vocally agile Jesus, who possibly even displaces Steve Balsamo as the king of Gethsemane. His acting is certainly better.

Is the new JCS the best yet? Yes. Because Jesus and Judas vocally slug it out on stage like never before. Matt Cardle was a pleasant surprise as Pilate.

This updated version of the Open Air production is the best yet. Go and see it if it's your kind of show - you won't be disappointed.

Thanks for this. I loved the production the year before last, and we have tickets towards the end of the month. It had been quite quiet on this thread, but glad to read it’s as good as ever 🙂

Good point xanady. To clarify, I'd say it's the best production certainly of the last 25 years. Personally I love the film and the original sound track. I wasn't born when the original production hit the stage so guess my view is that it's the best I've ever seen.

The reason I was so wowed by yesterday's show is that there is a vocal and physical maturity to the characters of Judas and Jesus. I loved the original Open Air version(s), but my humble view is that the two actors were born for these roles. The comparison to Steve Balsamo was because he is widely recognised for consistently nailing Gethsemane.

Robert Tripolino has an unbelievable range from a growling "heal yourselves" after a piercing "there's too many of you" to a soaring "why should I die" (which Declan Bennett could never hit). Above all, his acting was believable and emotionally weighted. Far less internal than DB (who wasnt a bad Jesus btw).

Ricardo Afonso is on another planet as Judas. Tyrone Huntley is a very hard act to follow, but Afonso has a physical presence, height and appearance which contrasts with Huntley's boyishness. Yet despite his very obvious manliness, Afonso peppers his performance with deft vulnerability, fragility and frustration. It has been a while since an actor took my breath away with such a complete performance. If this sounds like high praise or overegging then go and see for yourself. It's a mindblowing interpretation of Judas and one which deserves more than 10 weeks.

I'm less effusive about Sallay Garnett as Mary, who has a beautiful tone but is underpowered and underplayed. Possibly a preview sound issue but she never gets out of second gear. I want a stronger Mary, somebody who is empowered and alluring.

Matt Cardle was very good as Pilate. Not Thacko by any stretch but certainly very good. I loved his indecision over how to handle Jesus and the baying crowd, and he nailed the "innocent puppet" section well.

The priests are fab, Annas is good. Not as good as Sean Kingsley who brought sinister campness to the role, but vocally strong. Caiaphas remains as last year. His diction was off yesterday and he was slightly behind the beat at times. Samuel Buttery as Herod was flamboyant with a nice dangerous edge. Not my favourite interpretation but harmless enough. I prefer the physical gymnastics and energy of previous interpretations. Mr Buttery is on the large side and somewhat restricted by comparison. Physically dominant, vocally competent, but I prefer a higher energy Herod.

And finally, if you're in the stalls, nothing quite prepares you for the clever use of the Barbican doors/lighting in the intro which was a magnificent way to open the show. A moment of subtle magic.

Many thank,ceebee...on your recommendation I will definitely check this out as it is one of my all time faves.

So glad to hear all the praise - seeing this at Regent's Park in 2016 was one of the theatrical highlights of the past few years for me, can't wait to see it tomorrow in its new home at the Barbican. If it's really as good as these early reports suggest then I may have to return multiple times!

Out of interest - viserys and Dom - were you at the matinee or evening performance yesterday? I was at the matinee, and the crucifix hoisting mechanism temporarily failed at the climax of "Superstar". (I appreciate however that previews are to iron out the glitches...) Did you like the fact that the larger cross is now moveable? I think if they've gone to the effort of giving it wheels, the designer could have allowed a little extra swing upstage to enable the Last Supper tableau to face the audience a little more. I felt the set could have used the depth of stage a little better, but I think it's just because the set is so much taller than the Open Air set. Also, the lack of stage monitors caused a little loss of context when the disciples are building the cross out of the speaker stand. Appreciating it was a preview, the matinee felt a bit heavy on bass which seemed to drown the mid-range somewhat. I noticed many additional speakers wired into the auditorium along the slips too. Oh, and the spot operators need to up their game - a couple of critical moments for Judas and Jesus were played in relative darkness until the spots caught up.

These are minor technical points of a production still in preview...

I forgot to mention the soul girls, who were vocally sensational.

How is it, being on the far sides? Is it particularly restricted?