REVIEW: Jesus Christ Superstar at Newcastle Tyne Theatre

Jesus Christ Superstar

Newcastle Tyne Theatre & Opera House

Until Saturday 1 March 2025

Tyne Theatre Productions started ten years ago as an organisation raising money, through putting on a production, to help save the historic theatre on Newcastle's Westgate Road. This year they are back with an ambitious modern interpretation of the biblical musical.

Jesus Christ Superstar, created by Andrew Lloyd Webber and Tim Rice, debuted in 1970 as a rock opera concept album before being staged on Broadway in 1971. The musical explores the last days of Jesus Christ through a modern lens, emphasizing themes of betrayal, faith, and political intrigue.

This is something very different to their first production (Pirates of Penzance back in 2015). The programme notes that the profits from ticket sales will go directly to the preservation of the iconic Grade-I listed building and that is in itself a great reason to support the show. The venue has come a long way in the past 10 years with the refurbished seating in the stalls and new cafe-bar. It is a long way from the uncertain times when the charity first took over the running of the place.

This production is staged differently to the recent touring production of JCS. This has more of a feel of a rock opera. Indeed sticking the band on stage adds to that feel. The cast are in modern clothing but, in my opinion, that does not detract from the power of the piece. The story still is the most prominent aspect of the show. I'll assume that everyone knows the story and there's no spoilers when I say that the crucifixion at the end, and the cruelty leading up to it, probably doesn't make it a show for very young children.

The show has a number of stand-out leads. Each one was given at least one song to really shine. Tyler Neumann, as Judas, sets the bar high with the opening Heaven On Their Minds. Thom Potts was the understudy covering Pilate, but you'd never guess as his voice really suited Pilate's Dream. The camp humour that Ben Stoddart gave Herod during Herod's Song really lightened the mood, and provided a chance for the audience to laugh. 

Bridget Anne Wallace added a rare female lead as she sang I Don't Know How To Love Him - there was plenty of passion in the intense rendition. I just wish her sound was slightly louder (or as least as loud as the male actors) during Everything's Alright. Indeed the balance in the sound was probably my only niggle in the show, coupled with the occasional bang or feedback, the sound could be a touch distracting. 

Craig Wallace excels in the a challenging role as Jesus. Not only does the role demand that he is literally pushed from pillar to post but he also has some big numbers to sing. His vocal range comfortably handled the songs - at times the notes came out apparently effortlessly and yet the score is really demanding. No wonder the audience was on their feet at the end.

As is often the case with amateur musical productions, there is a large ensemble who fight, dance and add to the chorus - however the stage doesn't get over full (unlike some shows we've witnessed). They played an essential part in the storytelling as well as the overall sound of the show.

This is a tight rock opera, under director Sonia Hernandez, in which the story sung-through. The band, led by musical director Jenni Watson, is performing for the full show and is much a part of it as the actors.

I enjoyed the energy of the show. The fabulous leads helped elevate the show with their singing ability. 

Maybe the choice of next year's show will give more of the female participants more chance to shine - Carrie The Musical, perhaps?

Review: Stephen Oliver

Tickets: 

Available to book online, on the phone, or in-person: https://www.tynetheatreandoperahouse.uk/whatson/jesus-christ-superstar