Jesus Christ Superstar | Watermill Theatre

Jesus Christ Superstar, with music by Andrew Lloyd Webber and lyrics by Tim Rice, is brought alive in a blaze of glory in this new production of the musical. Directed by Paul Hart, this production adapts the musical with a darker and grittier style, converting the powerful songs into a pulsating atmosphere in the small theatre. With the cast doubling as actor-musicians, the production is even more of a wonder to behold. 

The musical recounts the events leading up to the crucifixion of Christ, with emphasis on Jesus and his loyal followers, Judas's betrayal and Mary's unwavering love. Presented almost as though it were a rock concert, the intensity of the book and the songs are amplified. 

The production is ambitious to say the least, taking into account modern audiences and adapting the piece to feel more relevant. The production strips away the colour of this beloved musical; making way for a much starker interpretation; not unlike many of the revivals of both Rice and Lloyd Webber's other works, such as Sunset Boulevard and Evita, that have enjoyed dizzying heights of success. Although much more humble, this production of Jesus Christ Superstar follows the footsteps of its successors, with the ensemble clad in all-black, intense yet impressive lighting, a concert-like staging, brilliant choreography and a splash of blood. 

The production, however, falters slightly when it attempts to take on too ambitious an idea. The Watermill Theatre is a stunning theatre, with a gorgeous outdoor space that many a show often uses to immerse audiences with; creating an additional stunning pre or post show touch. However, this production decides to stage a segment of the actual show outdoors. Following the interval, the first twenty or so minutes of the second act is performed outside, with audiences either sat on cushions or mats on the floor, benches or stood in a circle around a blazing fire. Whilst this is a gorgeous moment, especially with darker skies, for the pivotal moment of confrontation between Jesus and Judas, and the song Gethsemane, it becomes a tad bit impractical in escorting the 200 audience members back into the theatre. Following this moment, it does take a while for audiences to reconnect with the piece, which unfortunately sacrifices some of its more emotional moments in the process. Whilst a brilliant idea, it doesn't quite work practically. 

David Woodhead makes great use of the intimate space, creating a set reminiscent of a church interior, with candlelit alcoves and sunlight streaming through a decorated window. With the cast performing only metres away from the front row, the action feels close and audiences are placed in the middle of it, with the cast making their way around the aisles. The set is visually breathtaking, wowing audiences the moment they step into the theatre, and continues to remain striking throughout. Daniel Denton (video designer) has compiled images of Michael Kholwadia, Max Alexander-Taylor and Parisa Shahmir, that are projected onto the set, making the distorted images feel even more cinematic. Every moment of the show feels like a piece of art come to life, through excellent use of lighting, set, costume, direction and cast. 

Woodhead also has the cast dressed in black, apart from Kholwadia, who is in white. The use of contemporary clothing (Judas is quite literally in a ripped hoodie), accessories and tattoos makes the piece feels more current and relevant. Whilst there are nods to a more traditional look, with Kholwadia adorning the thorn crown, leaders in cloaks or robes, and guards in golden armour, the overall feel of the piece feels more slick and stylish. There is a song that dares to be provocative in the piece, with latex, glitter and revealing outfits, that really does push audiences into an unexpected direction. 

Anjali Mehra creates outstanding choreography for the piece, with the entire cast performing full fledged musical numbers on the small stage. The ensemble pull off the intense choreography with ease, even incorporating their handheld instruments into the fast-paced movement. Rory Beaton outdoes himself with lighting design that is astonishingly brilliant. Characters are given distinctive lighting, (Judas in a cold blue, Jesus in a warm yellow, the priests in a harsh white, and Mary in a gentle wash), whilst also creating a focused lighting show, reminiscent of a rock concert lighting rig. Beaton even uses fairy lights around the campfire, to continue adding an extra sparkle to every moment of the production. 

Hart's direction is well calculated, making sure the audience follow the clear emotional arcs amongst the more stylish and extravagant creative choices. Whilst audiences are familiar with the overarching plot, Hart narrows down on the smaller moments, often honing down the production to reflect these, with the more emotional songs being intimate and full of soul. 

The cast are a phenomenal force to be reckoned with; with each member delivering an exceptional performance. Kholwadia leads the cast with endless charm and talent; delivering a heavenly performance. Kholwadia showcases an expert performance, with magnificent vocals, an undeniable charisma, and energy that encourages affection. Kholwadia is a rising performer to keep an eye out for.

Alexander-Taylor brings a blend of sinister and sorrow to Judas, creating empathy for the character. Alexander-Taylor's performance is a standout as he embraces the tortured soul, belting out the songs. Shahmir is divine as Mary, with the show's strongest performance. Her renditions of Everything's Alright, I Don't Know How to Love Him and Could We Start Again Please?, was a religious experience in itself, with Shahmir's quiet confidence. 

The high priests, Caiaphas (Olugbenga Adelekan) and Annas (Alexander Zane, who is also the onstage Music Director), are sensational in their limited role, with stand out vocals and a real gravitas in their performances. Samuel Morgan-Grahame as Herod was a shocking show stealer in the second act, with an unforgettable musical number. Seb Harwood as Peter is another strong performance. 

The production is striking, provocative, emotional, gritty, blessing audiences with a heavenly experience. This production promises an adaptation of Jesus Christ Superstar like no other and is worth every moment of the Pilgrimage to get to the theatre.

Jesus Christ Superstar is playing at the Watermill Theatre until 21st September 2025.

Tickets and More Information

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Pamela Raith