You’ll remember that I fell completely head over heels for this production of Jesus Christ Superstar when I first saw it in 2016, so much so I went on a Saturday for a matinee, spent the Sunday making enquiries about when I could return, and had a second outing booked by Tuesday, the quickest “turn around” I think I’ve ever experienced when loving a show. I eventually saw it at the Park three times, and once more when it transferred to the Barbican last year. With theatres across the country still facing uncertain and bleak futures thanks to the pandemic, I was overjoyed to see the creative team and various cast members from both productions return to present a concert version of a show that has found a very special place in my heart.

I must kick off proceedings by simply acknowledging the sheer amount of work that has gone into this whole endeavour – from everyone both onstage and off; the government guidance on outdoor performances being able to go ahead to this staging being mounted felt like an incredibly short space of time, and what they have been able to achieve, all the while having to focus on maintaining social distancing and reimagining certain moments to work within those rules is nothing short of astonishing! I was delighted to see Drew McOnie’s wonderfully energetic choreography slotting seamlessly into place (granted with fewer props and moments altered to limit physical contact) – the energy and physicality that abounds in this piece from the ensemble never ceases to amaze. Tom Scutt’s costume and set design remains intact too, with the use of steps after the work of Soutra Gilmour for the Open Air’s Evita last summer. That makes for some really striking moments as the cast play with height and levels, and it meant that everyone is kept safe while not sacrificing the intent and intensity – on the contrary as someone who came to love the piece as I did from its previous iterations, I was incredibly excited to see how particular moments would work within the new set up, and I felt throughout like I was rediscovering the show anew, and that was glorious.

Some elements, most notably the events directly before and including the Crucifixion have been altered, there were some I liked even better in the socially distanced staging. Without giving much away, I’d like to mention the very end of the show here – I found it incredibly moving; those two actors, the blocking, their acting and the emotional inference I took from the scene, not forgetting the beautiful “John Nineteen:Forty One” playing underneath – it was enough to make my spine tingle and make me choke up. Speaking of choking up, I’d be remiss not to mention the beginning of the show: such a clever acknowledgement of our current situation with facecoverings being included then the cast removing them as the overture climaxed – the audience burst into applause and that was awesome to be a part of: it felt like we, and they were accepting that theatre can adapt and that the appetite for performance is always there. It was good for my soul to be in that space after months of struggling with feeling disconnected from an industry that has done, and continues to do so much good in my life!

One of the things I like best about the show in general has been its approach to casting: they’ve double cast the principal roles of Jesus, Judas and Mary without revealing who will be playing on a given day ahead of the performance, so you’ll not know until you arrive at the venue! I wish with all my heart and soul that all West End shows would do this, I think it would be a positive move and remove the pressure on the performers if they start to feel unwell and potential for any negative angst from audiences should a particular performer not be there for whatever reason. And you’d be spoilt here whatever combination you have- the level of talent is incredible and each bring their own unique nuances to the roles.

At my performance, Jesus was played by Pepe Nufrio, whose easy charisma and approach to the role I fell instantly for; I loved the direction he took the character as I felt he showed more vulnerability and insecurity than other interpretations I’ve seen, and that makes his songs, particularly Gethsemane take on new intensity and meaning for me. His physicality, especially during interactions with Mary (a strong and striking  Maimuna Memon)was incredibly endearing and of course his vocal had me clap till my hands were sore and whoop till my voice was hoarse, mask and all.

When I saw the production at the Barbican, I really enjoyed the dynamic between Jesus and Judas, it felt to me much like an older Judas rather weary of a younger, more arrogant Jesus. I definitely got that feel again here, except that Pepe’s take on Jesus feels more sweet and likeable, struggling with the burden of what he must do. Here, Judas felt to me more of a mentor to Jesus, someone that he looks up to and feels very hurt by his betrayal and that dynamic between the two fascinated me!

Speaking of Judas, I was overjoyed (literally, I saw the cast board and cheered, much to the amusement of the staff who saw me) to discover we had Ricardo Afonso in the role. When I last saw Ricardo in the role at the Barbican, I kid you not, every time he sang, my jaw was on the floor and I had the most intense goosebumps I’ve ever experienced. I left that auditorium kicking myself that I had only managed one visit and praying that I would see him again, I didn’t care what show it may be in! And just my joy and honour it was this one: his vocal is immense and the depth and nuance he brings to the role quite takes my breath away; you really get a sense of the conflict he goes through and what’s remarkable was the way he could show that in often really small yet intense ways.

I felt his chemistry with Pepe was phenomenal (especially during the Last Supper where the pair are standing across from each other venting their frustrations and leaning into their respective mic stands trading ferocious vocal prowess with such ease as if they were trading tennis volleys) and as with the ending moment I adored the staging of Judas’ Death re-imagined here.

As I’ve already experienced, David Thaxton chews up this score and eats it for breakfast: his presence is astonishing and I felt the joy he so clearly feels at revisiting the role in this new inventive way coming off him in waves. Pilate’s scenes are still incredibly powerful given the need for social distancing, and he can still give me shivers with the best of his lines. Also, mic drops make everything even better 😉

To finally be able to experience Cedric Neal perform live in person was amazing: his vocal range and harmonies were a delight to my ears and he helped me connect with Simon in a way that was different to any of his predecessors and his voice has a richness to it that is beautifully showcased here.

Elsewhere, I want to give a special mention to Ivan De Freitas who blew my mind as Caiaphas, both vocally and acting wise. 

Ivan’s subtle power is balanced perfectly by Nathan Amzi’s fierce and outspoken Annas, and in another striking turn Shaq Taylor takes everything I thought I knew about Herod and how I’m used to seeing him played & flipped that totally on its head, giving him a creepier, less comedic edge.

I ended the afternoon emotionally spent in the best way possible, and more importantly I felt hope that not only can the industry I love adapt, but that there’s a hunger for live performance. With this incredible company paving the way, I felt at home again, and no matter how many words I write I will never truly articulate how amazing that feels.