Jesus Christ Superstar - U.K. Tour

[CG on the loose]

Dec 12, 2023 21:49:24 GMT theatrefan62 said:

Does Ian usually do Saturday matinées?

Assuming the same pattern continues after their break, I understand if there's a Wednesday matinee he's off on the Thursday and if there's a Thursday matinee he's off on the Wednesday.

And I second all the comments about his being a must-hear vocal. Best Gethsemane I've heard.

[lotster]

Dec 13, 2023 23:48:16 GMT CG on the loose said:

Dec 12, 2023 21:49:24 GMT theatrefan62 said:

Does Ian usually do Saturday matinées?

Assuming the same pattern continues after their break, I understand if there's a Wednesday matinee he's off on the Thursday and if there's a Thursday matinee he's off on the Wednesday.

And I second all the comments about his being a must-hear vocal. Best Gethsemane I've heard.

 I saw the original Open Air version, then the Barbican version, then the covid Open Air version 4 times. I did see the tour version in Manchester. Really didn't like Julian Clary as Herod (even though I like him, especially in panto), as him in that role just seemed so totally out of context and random. I didn't really rate Judas (can't recall the actors name, but after Ricardo he wasn't very good IMO) but I agree Ian is a great Jesus and it's worth going to simply to hear his Gethsemane.

[happysooz2]

Dec 13, 2023 22:17:50 GMT lotster said:

I found those shows so incredibly overwhelming and emotional. After the lockdown, after not hearing live music/theatre for so long and not knowing if we'd ever see it again. The atmosphere of it being outside, with the sunsets and wind, rain etc. I really rate Tyrone (and enjoy his Judas) but when I went and saw Ricardo's name on the cast board I nearly cried with joy!

Same same 💜 I don’t know if I will ever experience such pent up expectation/release again from a show.

To be fair, I’d be happy to never have the circumstances that lead to such an ecstatic response again 😹

[richey]

Dec 13, 2023 22:17:50 GMT lotster said:

I found those shows so incredibly overwhelming and emotional. After the lockdown, after not hearing live music/theatre for so long and not knowing if we'd ever see it again. The atmosphere of it being outside, with the sunsets and wind, rain etc. I really rate Tyrone (and enjoy his Judas) but when I went and saw Ricardo's name on the cast board I nearly cried with joy!

They were so powerful. I'll never forget the moment when the whole cast took to the stage wearing facemasks and then pulled them off during the fanfare. I admit to crying a little at that point.

[NorthernAlien]

Saw this in Edinburgh last night.

First the good - the vocal performances were excellent. I liked the set with the giant cross being used as, well, everything. I thought the crucifixion was really well done, and not too traumatic for either audience or actor. Again, Judas' death had been cleverly thought about in terms of how to stage it.

Now the rest: What is this? Is it a concert with costumes and movement, in the same ilk as Six? If so, it feels outdated. Is it a gig musical? In which case Middle Child do it better, IMO.

I think I place much of the blame for being distinctly underwhelmed on the text here - there seemed to be zero attempt at story-telling, and 'stuff you' if you don't know who all the supporting characters are. Whilst I was raised going to church every single Sunday, and so do know the story, and who the characters are, it cannot be denied that we are becoming a more secular society, and I wonder if the younger generations, who probably haven't been frog-marched to church every week, understand the nuances here? Or even the broad sweep of which parts of the final weeks of Jesus' life are being referenced? I know that the narrative of the UK is still that we're a Christian country, and that every school has a nativity play every Christmas, etc, but I'm not sure the Easter story gets as much attention? All of this makes me think that this piece has a limited future lifespan unless a book is added.

Being sung all the way through means that the story-telling has to be conveyed very strongly, and I just didn't feel like it was here. I've seen a filmed version of this, where they focused on what I'll describe as 'the mob factor', and imposed an armed police force cracking down on crowds etc. That really seemed to work, to build the atmosphere of Jesus being seen as a dangerous radical, and someone who the authorities felt needed to be stopped at any cost. Here, it just felt like a bloke singing some songs, then some other people singing some songs, and then some 'contempo-wafting' movement. There wasn't any tension - it just felt like a series of things happening one after another, with no real motivation?

Perhaps it was the fact that it was the final performance in Edinburgh, and the weather has been vile all week up here, and the cast now have to relocate to Leicester (a long drive), but there was just a distinct lack of energy to the whole thing.

The whole thing also felt weirdly sanitised? Like, those final weeks, there's supposed to be tension building on the streets, local leaders who feel under pressure from both their subjects, and Rome, and a sense of desperation from the local population who just want someone to come along and solve their problems and make their lives better, and get rid of the uncaring politicians who rule their lives whilst knowing nothing about the reality of how they are living. There are surely enough parallels there with the current situation in the UK, for something interesting to have been done with this? But it just felt like they'd shoved a set on a stage and dashed through the whole thing.

Talking about dashing through the whole thing - the band seemed to rarely stop, and I felt there were a few moments where what action there was could have benefited from pausing, just for a few seconds. As it was, it felt like there was little variety in mood - again, it felt like a rush to the finish. Mary's song felt like it came from nowhere, narratively speaking.

The other thing I will say is that, obviously, they have had to shove an interval in, to appease the powers that be at the various places this is going to. But I think this decision is what leads to much of my ambivalence about this. Going all the way through without a break would allow for that sense of tension and claustrophobia to build, and for everything to just feel more intense.

I will say that I can see how this would have worked in the RPOAT, with the intimacy, and some of the lighting choices towards the end - but here, in the barn that is the Edinburgh Playhouse, it did not. Sorry if you loved it, and it seems like it worked at the OAT and the Barbican. But not all of us live in London, and as much as I try to go and see stuff there, I can't always find the time or the money to do so. I think I'd like to see a filmed version on NT Live/at Home, so I could see the 'original' revival version, and maybe see what has everyone else raving about it.

[max]

Hey @northenalien - I totally agree. I've felt for while that during the overture, or during the opening riff of 'Heaven On Their Minds' (where Jesus is usually shown in dumbshow preaching) we should hear a little of the teachings that would so frighten the Roman authorities and the Pharisees and Scribes. Helpfully those teachings are pithy enough in the bible to be the original soundbites: "it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom". That in itself is pretty incendiary even today. For the uninitiated it would make a big difference.

As for this version - I absolutely wasn't raving about it. I noticed at Open Air and Barbican Jesus and Judas never touched each other (as far as I could notice); but the brotherly bond that's now strained to breaking point is (in other productions) so well expressed in this sometimes forced fealty and displays of brother-love. It does, after all end in the ultimate touch: 'Judas must you betray me with a kiss'. I also felt the choreography was danced for the ensemble, not specifically danced 'at' Jesus as an act of devotion. The 2018 NBC Live TV version had a similar style of choreography, but so differently applied - always showing Jesus's followers as hyping each other up, comforting each other, and then whipped up into a fervour of devotion. See what you think of this video from it. It's unrepresentative in that it's the only moment someone holds a microphone, but some of the qualities of a band of followers are captured. Erik Gronwall plays Simon. Previously, in the brilliantly staged overture Simon uses a fire extinguisher filled with red paint to write Jesus on the back wall - which must have been quite scary to do live on TV to millions; but the whole production is full of risk that mainly works.

[danb]

I struggled to watch the NBC thing. Legend was hopelessly miscast and I have no idea why he was, other than his ‘name’. He gave a tender and gentle reading of JC but sang it like The Temptations! Things being ‘souled’ inappropriately is my bete noir. See also John Partridge mutilating ‘Bui Doi’ when he was John in ‘Miss Saigon’.

[distantcousin]

Feb 11, 2024 13:18:42 GMT NorthernAlien said:

Saw this in Edinburgh last night.

First the good - the vocal performances were excellent. I liked the set with the giant cross being used as, well, everything. I thought the crucifixion was really well done, and not too traumatic for either audience or actor. Again, Judas' death had been cleverly thought about in terms of how to stage it.

Now the rest: What is this? Is it a concert with costumes and movement, in the same ilk as Six? If so, it feels outdated. Is it a gig musical? In which case Middle Child do it better, IMO.

I think I place much of the blame for being distinctly underwhelmed on the text here - there seemed to be zero attempt at story-telling, and 'stuff you' if you don't know who all the supporting characters are. Whilst I was raised going to church every single Sunday, and so do know the story, and who the characters are, it cannot be denied that we are becoming a more secular society, and I wonder if the younger generations, who probably haven't been frog-marched to church every week, understand the nuances here? Or even the broad sweep of which parts of the final weeks of Jesus' life are being referenced? I know that the narrative of the UK is still that we're a Christian country, and that every school has a nativity play every Christmas, etc, but I'm not sure the Easter story gets as much attention? All of this makes me think that this piece has a limited future lifespan unless a book is added.

Being sung all the way through means that the story-telling has to be conveyed very strongly, and I just didn't feel like it was here. I've seen a filmed version of this, where they focused on what I'll describe as 'the mob factor', and imposed an armed police force cracking down on crowds etc. That really seemed to work, to build the atmosphere of Jesus being seen as a dangerous radical, and someone who the authorities felt needed to be stopped at any cost. Here, it just felt like a bloke singing some songs, then some other people singing some songs, and then some 'contempo-wafting' movement. There wasn't any tension - it just felt like a series of things happening one after another, with no real motivation?

Perhaps it was the fact that it was the final performance in Edinburgh, and the weather has been vile all week up here, and the cast now have to relocate to Leicester (a long drive), but there was just a distinct lack of energy to the whole thing.

The whole thing also felt weirdly sanitised? Like, those final weeks, there's supposed to be tension building on the streets, local leaders who feel under pressure from both their subjects, and Rome, and a sense of desperation from the local population who just want someone to come along and solve their problems and make their lives better, and get rid of the uncaring politicians who rule their lives whilst knowing nothing about the reality of how they are living. There are surely enough parallels there with the current situation in the UK, for something interesting to have been done with this? But it just felt like they'd shoved a set on a stage and dashed through the whole thing.

Talking about dashing through the whole thing - the band seemed to rarely stop, and I felt there were a few moments where what action there was could have benefited from pausing, just for a few seconds. As it was, it felt like there was little variety in mood - again, it felt like a rush to the finish. Mary's song felt like it came from nowhere, narratively speaking.

The other thing I will say is that, obviously, they have had to shove an interval in, to appease the powers that be at the various places this is going to. But I think this decision is what leads to much of my ambivalence about this. Going all the way through without a break would allow for that sense of tension and claustrophobia to build, and for everything to just feel more intense.

I will say that I can see how this would have worked in the RPOAT, with the intimacy, and some of the lighting choices towards the end - but here, in the barn that is the Edinburgh Playhouse, it did not. Sorry if you loved it, and it seems like it worked at the OAT and the Barbican. But not all of us live in London, and as much as I try to go and see stuff there, I can't always find the time or the money to do so. I think I'd like to see a filmed version on NT Live/at Home, so I could see the 'original' revival version, and maybe see what has everyone else raving about it.

You've picked up on the biggest problem with JCS, which I've been banging on about since I first saw it in the 90's. It assumes prior knowledge (i guess it was created at a time when every British child had some form of religious studies at school, at the very least)

Like you say, there is no exposition or scene setting. 

[elfman1]

Having seen this tour twice in Leicester (loved it amazing great cast Matt Bateman randomly playing musical instruments in the second act my beloved etc) I have to ask this. Has any one ever had trouble or overheard anyone saying they couldn’t identify Judas. I ask this because I’ve over heard people at both performances saying this and even one person thinking Shem was Peter and only realIsing who he was with the silver in damned for a time. I’m just confused since I fell Judas walks around the stage with a giant sign saying IM JUDAS over his head.

[FJ]

Having only ever seen Amdram productions of this in the past, I was absolutely blown away by this in Bromley on Monday night. So much so that I went back again last night.

All of the cast were incredible, but special mention to Ian Mcintosh as Jesus, Luke Street as Judas (and Simon last night) and Timo Tatzber as Herod. All absolutely amazing. Timo gave such a strong, well sung and danced performance that I just can't imagine how Julian Clary would fare in the role, but since I can't make it there between Thursday and Saturday this week I might have to try and catch one of his dates somewhere else to see for myself..

I was always annoyed to have missed out on this at Regent's Park, so I'm glad I've finally seen it.

Love the music, loved the choreography and staging and so much more.

Would definitely give it 5 stars, and already looking at dates that it's going to be back near London this year so I can go back again.

[ceebee]

Feb 28, 2024 8:12:56 GMT FJ said:

Having only ever seen Amdram productions of this in the past, I was absolutely blown away by this in Bromley on Monday night. So much so that I went back again last night.

All of the cast were incredible, but special mention to Ian Mcintosh as Jesus, Luke Street as Judas (and Simon last night) and Timo Tatzber as Herod. All absolutely amazing. Timo gave such a strong, well sung and danced performance that I just can't imagine how Julian Clary would fare in the role, but since I can't make it there between Thursday and Saturday this week I might have to try and catch one of his dates somewhere else to see for myself..

I was always annoyed to have missed out on this at Regent's Park, so I'm glad I've finally seen it.

Love the music, loved the choreography and staging and so much more.

Would definitely give it 5 stars, and already looking at dates that it's going to be back near London this year so I can go back again.

I'm there on Thursday so will let you know! BTW, it's also in Canterbury later this year if you fancy a train trip down to Kent.

[anita]

Me too.

[ceebee]

Wow - who scheduled this show for the Churchill Theatre? What a horrible pokey place. Terrible acoustics. Everything compressed on stage, choreography was a mess, sound was awful - sounded like a 1980s Yamaha keyboard at times. Half the cast couldn't be seen as lighting was so poor.

The positive... Luke Street absolutely saved this performance tonight as the alternate Judas. Absolutely superb - vocally brilliant, edgy acting, really owned the role.

I saw this touring production in Milton Keynes and it was superb, but tonight I felt it was messy and tired. The alternate Jesus could belt the high notes but that was about it.

Luckily for the producers, this show is sold out in Bromley - just as well really because I couldn't recommend it off tonight's performance.

I hope it'll be better in Canterbury in June in a decent theatre with decent sound.

I blame the theatre not the cast. What a fleapit.

[anita]

Different cast at matinee. We had alternate Jesus & Clem as Judas. I enjoyed it. Could hear fine.

[FJ]

Feb 29, 2024 22:06:07 GMT ceebee said:

Wow - who scheduled this show for the Churchill Theatre? What a horrible pokey place. Terrible acoustics. Everything compressed on stage, choreography was a mess, sound was awful - sounded like a 1980s Yamaha keyboard at times. Half the cast couldn't be seen as lighting was so poor.

The positive... Luke Street absolutely saved this performance tonight as the alternate Judas. Absolutely superb - vocally brilliant, edgy acting, really owned the role.

I saw this touring production in Milton Keynes and it was superb, but tonight I felt it was messy and tired. The alternate Jesus could belt the high notes but that was about it.

Luckily for the producers, this show is sold out in Bromley - just as well really because I couldn't recommend it off tonight's performance.

I hope it'll be better in Canterbury in June in a decent theatre with decent sound.

I blame the theatre not the cast. What a fleapit.

 oh dear!

I think I was comparing it to my local non west-end theatre, the new Wimbledon, and so to me anything is better in comparison. 

Completely agree about Luke Street - I've actually now booked to see one of his Jesus dates in Crawley, but not holding out much hope for that Theatre.

Dare I ask, how was Julian..?

[ceebee]

Mar 1, 2024 10:20:14 GMT FJ said:

Feb 29, 2024 22:06:07 GMT ceebee said:

 oh dear!

I think I was comparing it to my local non west-end theatre, the new Wimbledon, and so to me anything is better in comparison. 

Completely agree about Luke Street - I've actually now booked to see one of his Jesus dates in Crawley, but not holding out much hope for that Theatre.

Dare I ask, how was Julian..?

Yeah, the New Wimbledon is a big old barn isn't it?  Julian Clary was Julian Clary.  Light relief in a painful evening where frankly his pantomime Herod punctuated an otherwise clunky and forgettable performance.  Largely spoken until the final "hey aren't you scared of me Christ" lines where an attempt to sing was made.  And then the ad-lib on the "get out, get out" walk up the cross platform of "it's like having a conversation with a cat" was just surreal and odd. But the audience laughed so it must have been funny, right?   (I like Julian Clary - he's an intelligent, interesting man and I think he is better than this - he has either made wrong or lazy choices, or was directed to play it this way.  But I guess he gets a percentage of bums on seats... Definitely tying with Sam Buttery and Rik Mayall for the title of worst Herod ever to grace a stage.)

I nearly deleted my post as I am not usually one for posting negative reviews, and I love this production so much having seen the OAT/Barbican versions many times and having caught this tour in Milton Keynes.  However, I stand by my comments about it.

The theatre is neglected. It was clean and the staff were really friendly, but the seating was awful (stained and uncomfortable - seats G31-33 if anybody fancies giving them a clean) and led to several instances of undignified clambering for one or two larger people.

The cast were woefully underlit, the right hand spot operator must have been asleep on the job as thye were completely missing the actors at times.

This show deserves a proper sound set up and it looked like somebody had raided Richer Sounds - the balance was all over the place, the band were underamplified at least until the second half.  It was like work experience night or similar.

It may have been the sound issues that put me off the alternate Jesus - he could belt out the high notes but there was just nothing happening behind the eyes.  This is the first time I have seen this production and not felt an ounce of compassion or sadness for the character.  Yes, Ian McIntosh's shoes are incredibly hard to fill as I feel he has made this role his own and in my eyes performs it better than Steve Balsamo.  Conversely, Luke Street was the alternate Judas and was sensational - I prefered him to the regular Judas and really hope I catch him again in Canterbury.  He was the one compelling reason to return after the break.

The choreography was so messy - I wonder if Drew McConie has seen it recently. He would be embarrassed if he saw it last night - at times it looked like a parody of the slick tight Regent's Park choreography.  I think it was the stage/staging rather than the cast, as they were excellent in Milton Keynes.   The set looked crammed on to the stage and the lighting from the wings was weak, too low and lacking the definition this production is known for.  The lashes scene was so underlit that the glitter was not always easy to see - it also felt like they were being somewhat "sparing" with the glitter.  The unnecessarily long pause by the MD after the crucifixion pretty much summed it up for me.  A production that I love in dire need of fresh direction/ reinvigoration as it continues its tour. 

Maybe I caught them on a bad night but I never imagined myself contemplating leaving one of my favourite shows at the interval.

Highlights other than Judas, to end on a positive, were the characters of Mary, Simon, Annas all of whom really shone.  But when presented with such a weak and uncharismatic Jesus, it is hard to believe he had any followers at all, let alone twelve disciples.

Interestingly, had they renamed the show last night: "Judas Superstar" it would have made much more sense, as Luke Street was electric, compelling, and left us wanting more.  Give him the role full time, get him doing a sing off with Ian McIntosh, and restore this production to its rightful glory.

[theatreliker]

Saw this at Curve last month. I thought it was incredible, one of the best productions of a musical I've seen. Surely ALW's best score?

[ceebee]

Mar 1, 2024 11:21:26 GMT theatreliker said:

Saw this at Curve last month. I thought it was incredible, one of the best productions of a musical I've seen. Surely ALW's best score?

I agree - I love this score and this production, ever since it first opened in Regent's Park. I raved about this tour production in Milton Keynes, which is why I am convinced the Churchill Theatre in Bromley is just not the right theatre for it - that said, it is sold out, so the producers won't be complaining.  Perhaps last night was a one-off, as others have seen it in the same theatre and enjoyed it.  

[FJ]

Great info, thanks for sharing ceebee!

I guess my lack of comparison to the Barbican/OAT probably aided my enjoyment then.

Also counting myself extremely lucky to have seen the Ian/Luke combo on Monday then. Tuesday definitely didn't hit the same, though it was great to see him giving his all as Simon, too. Very much looking forward to seeing him as Jesus.

[BVM]

Mar 1, 2024 11:34:15 GMT ceebee said:

Mar 1, 2024 11:21:26 GMT theatreliker said:

Saw this at Curve last month. I thought it was incredible, one of the best productions of a musical I've seen. Surely ALW's best score?

I agree - I love this score and this production, ever since it first opened in Regent's Park. I raved about this tour production in Milton Keynes, which is why I am convinced the Churchill Theatre in Bromley is just not the right theatre for it - that said, it is sold out, so the producers won't be complaining.  Perhaps last night was a one-off, as others have seen it in the same theatre and enjoyed it.  

Sorry to hear was suboptimal as is usually such a strong production!

I agree with you though; unless it's had a massive refurb since I last went (15 odd years ago; though sadly I suspect it hasn't!) Churchill is most def at the grottier end of the spectrum of ATG houses.

I saw the Karen Bruce (infinitely superior to the dire versions that followed) Footloose there - something I loved everywhere else, but was dreadful in that theatre.

Theatres can affect things. The Starlight tour (which I loved and saw all over the country) really didn't come over well in Southend and in Brighton at the Brighton Centre.

Venues matter and can very much affect an atmosphere. 

[BVM]

Desperate to see Luke's Judas - anyone know if he publishes dates?

Also, anyone know who the alternate Jesus will be now Charlie is going to do that thing at the Lowry (and if they've published dates)?

Thanks :-)

[ceebee]

Mar 2, 2024 11:56:01 GMT BVM said:

Desperate to see Luke's Judas - anyone know if he publishes dates?

Also, anyone know who the alternate Jesus will be now Charlie is going to do that thing at the Lowry (and if they've published dates)?

Thanks :-)

I can't say what dates he's on - keep an eye on Westendunderstudies on Twitter. Luke Street channels a younger Ricardo Afonso for effortless intensity. His "you have murdered me, murdered me" scene is probably the best I've ever seen. He nailed every note and syllable in every song, absolutely owning the role and I felt he even had a bit in reserve had he needed it. A funny thing for me was when Jesus belted his falsetto "Gooooo" in his face during the Last Supper scene, Street's Judas still felt like he had the upper hand, having vocally dominated the scene. This scene played out with Ian McIntosh would be an incredible thing to see and hear. Do try and see Street in this role - he was great as Simon but Judas really is his natural fit.

[BVM]

Mar 2, 2024 12:14:17 GMT ceebee said:

Mar 2, 2024 11:56:01 GMT BVM said:

Desperate to see Luke's Judas - anyone know if he publishes dates?

Also, anyone know who the alternate Jesus will be now Charlie is going to do that thing at the Lowry (and if they've published dates)?

Thanks :-)

I can't say what dates he's on - keep an eye on Westendunderstudies on Twitter. Luke Street channels a younger Ricardo Afonso for effortless intensity. His "you have murdered me, murdered me" scene is probably the best I've ever seen. He nailed every note and syllable in every song, absolutely owning the role and I felt he even had a bit in reserve had he needed it. A funny thing for me was when Jesus belted his falsetto "Gooooo" in his face during the Last Supper scene, Street's Judas still felt like he had the upper hand, having vocally dominated the scene. This scene played out with Ian McIntosh would be an incredible thing to see and hear. Do try and see Street in this role - he was great as Simon but Judas really is his natural fit.

Yeah I'd love to see him. From when he covered roles in Bat to his stunning Simon in this - his voice really does sound thrilling! And Ricardo would be my fave previous Judas (God I wish they'd professionally recorded it at the Barbican) so this comparison pleases me!

[theatrefan62]

Is there a souvenir brochure for this yet?

There isn't one on the merch site

[FJ]

Mar 2, 2024 11:56:01 GMT BVM said:

Desperate to see Luke's Judas - anyone know if he publishes dates?

Also, anyone know who the alternate Jesus will be now Charlie is going to do that thing at the Lowry (and if they've published dates)?

Thanks :-)

Dates are on the highlights on Luke’s instagram.

He’s also going to be alt Jesus and dates are on there too!