Beautiful – The Carole King Musical – Aldwych Theatre – 19th September 2015

25 Sep

Beautiful – the Carole King musical sounded like a show right up my street the first time I heard about it. It made me go “Female Jersey Boys!” which – as those who know me will be aware of – is praise coming from me.

The Show has been running in London for a while but I only just managed to check it out. And what can I say? I left slightly disappointed. This has nothing to do with the cast – something I want to point out straight away.


Joanna Woodward who was on for Carole King the day I watched the show is quite simply wonderful. She has a marvelous voice and really manages to capture both the innocence of young Carole as well as the development from teenage girl to wife, mother and successful artist.

Alan Morrissey is a believable Gerry Goffin (Carole’s partner both personally and professionally). However, the male star of the show is Ian McIntosh (Barry Mann) who steals the show in most of his scenes. I just wish he had more to sing – his voice is one of the best in the West End and it seems a waste to only give him such small bits of solo singing.


Then there is Lorna Want as Cynthia Weil who is feisty, funny, likeable and just all around fantastic. She and Ian McIntosh work particularly well together – a pure joy to watch.

The rest of the supporting cast and ensemble do well with the material they’ve been given.

The songs are well-known and definitely crowd pleasers. I enjoyed hearing them sung live by such a talented cast. Personally I would have preferred less songs in general but those songs in a full version instead of hearing what felt like a million song snippets though.


So, we have a great cast and great songs. Then why did I not enjoy the show as much as I hoped I would? The answer is: The story. While I find Jersey Boys gripping and well done in terms of narrative and plot development I ended up slightly bored watching Beautiful. The story is predictable and the same things seem to happen over and over again. Plus I simply could not connect with any of the characters.

Spoiler warning!

Basically the show seems to be about Carole King writing a song whenever something happens in her life. She falls in love – she writes a song. She gets married – she writes a song. She has a baby – she writes a song. Her husband cheats on her – she writes a song. It just goes on and on without any proper dramatic tension in my opinion. Plus everything happens so fast there is no time to really get to know the characters. On top of that the two main characters just seem to make choices in their life that makes it hard for me to feel for them. Gerry Goffin might have his problems but we don’t learn much about them apart from him freaking out with no warning. And he is openly cheating on his wife and still expects sympathy. Then there is Carole King who lets her husband cheat on her not once but twice. If I knew more about his psychological problems and their general situation I might be able to understand Carole’s motives but since I don’t she just seems unreasonable to me. Or maybe I just have no sympathy for women who let their husband cheat on them (knowingly, I might add – he asked permission the first time!) and then make a big fuss when it happens again later on.


I don’t mind light entertainment and I certainly don’t mind jukebox musicals. But Beautiful is telling a life story and I wish it would do the characters more justice by giving them a well put together narrative and good character development.

However, I do understand why Beautiful appeals to people. If you take it as a night out listening to Carole King’s greatest hits it certainly is a nice show. And it is perfectly fine to be happy with that. For me what Beautiful has to offer just isn’t enough.

As always I do urge you to go and make up your own mind – if only to see so much talent on one stage. Beautiful is playing at the Aldwych Theatre. For more info and to book tickets go to:

Tim Prottey-Jones: To Do. To Be.

12 Sep

Tim Prottey-Jones is one of those people who can do it all. He is a musician, vocalist, composer, producer and musical theatre performer. He gained nationwide attention when he was chosen for the Top II in the televised live shows of ITV’s Superstar. Tim has appeared in shows like Once, Rent in Concert and Jesus Christ Superstar and can currently be seen in Kinky Boots at the Adelphi Theatre in London. At 23 he achieved a publishing deal and since then has released the albums With Every Line and Surrounded By The Sounds.

His latest work goes by the name To Do. To Be. and features brand new musical theatre writing not only by Tim himself but also by co-writers Tori Allen-Martin, Nick Smithers, Angela Prottey-Jones, Martin Meehan, Darah Carville and best-selling author Ali Harris.


With guest vocalist like Emma Hatton (Wicked, We will rock you), Declan Bennett (Once), Alistair Brammer (Miss Saigon, Les Miserables), Zrinka Cvitesic (Once), Paul Ayres (Kinky Boots, Ghost, Jersey Boys), Arthur Darvill (Once), Laura Pitt-Pulford (Seven Brides for Seven Brothers, The Sound of Music) and Amy Lennox (Kinky Boots, Legally Blonde) amongst others this album features some of the finest voices in musical theatre. Combined with Tim Prottey-Jones‘ ability to combine wonderful melodies with interesting and meaningful lyrics To Do. To Be. is a real triple threat.

Taken from six new musical projects the songs tell stories of love, heartbreak, loss, joy, hope and more – it’s one of those albums that has a song for every mood you might be in on the day you give it a listen. From uptempo numbers like The Song Of Sin (featuring Paul Ayres) to the delicate Regret Me (featuring Ambra Caserotti) there is a bit of everything on this album. It’s a diverse mix of songwriting that proves how very much alive and thriving new British musical theatre is. It’s an album to listen to on a cold winter evening when all you want to do is sit down and have someone tell you a beautiful story. All songs on To Do. To Be. are very much stand alone tracks but the album as a whole has a very distinctive instrumental style. It’s easy to listen to but at the same time it’s one of those albums that will make you listen properly.

It’s hard for me to choose a favourite track on the album but if I had to name my top three songs I’d go for (in no particular order)

Kiss Till You Can’t Kiss Anymore (featuring Declan Bennett) I love how Declan Bennett’s voice compliments the song. He is true storyteller through songs.

The Song Of Sin (featuring Paul Ayres) This is such a great uptempo song. It’s one of those that will make you tap your feet along tot he beat. Plus Paul Ayres voice is absolutely perfect for it.

You (featuring Evelyn Hoskins and Brian Gilligan) Another uptempo song but with more of a rock vibe to it. Add two brilliant voices and you have a winning combination.


But the great thing about To Do. To Be. is it has something for everyone. If you are a fan of musical theatre this is the album for. If you enjoy rock and pop music this is the album for you. If you love listening to amazing voices this is the album for you. And if you are a fan of Tim Prottey-Jones this is not only the album for you but also the album to prove that your musical taste is absolutely impeccable.

You can purchase To Do. To Be. and Tim’s previous albums on iTunes and Amazon.

For info on the upcoming album launch gigs in London on 18th and 25th September visit

Follow Tim on Twitter @TimProtteyJones or find him on Facebook.

The Bodyguard – Uk Tour

8 Sep

After a two-year run in the West End the well-known screen to stage adaption The Bodyguard is currently on UK Tour.

I caught the show in Birmingham after watching it several times during its first year in the West End. The Bodyguard has always been about the songs, there’s no denying that. The show sells because the audience wants to hear all those popular Whitney tunes. So with that in mind I can’t fault the creative for reducing the tour production to a concert with some random scenes thrown in. The Bodyguard has never had a deep story but to me it feels like the last bits of proper narrative have been taken out of the tour production only to add even more songs turning the whole show into a two hours tribute concert.


Zoe Birkett stepped into “Whitney’s shoes” at my performance and she sure knew how to get the audience on her side. Her voice is powerful and her energy on stage is infectious. Acting wise her Rachel Marron lacks depth in my opinion but then there is not much left in the script to allow proper character development. Rachel Marron goes from “bitchy pop singer” to “scared woman” to “sweet lover” to “heartbroken sister” in the blink of an eye.

Stuart Reid plays Frank Farmer – the bodyguard – with an almost stoic calmness. And while he sure has the stage presence he too is given little chance to show the audience more than a glimpse of Frank’s personality. His take on “I will always love you” wins hands down for the most hilariously awkward rendition of that song in history though and is one of the few moments in the show where he actually gets to stand out. Most of the time he is nothing more than a side figure – only there to exchange a line or two with Rachel Marron before the next song.


Melissa James is likeable as Nicki Marron and “Run to you” with Zoe Birkett is one of the truly glorious moments of the show. But just like anyone else apart from Rachel Marron the character is left standing in a corner with no chance to develop. Sadly this meant I felt little sympathy for Nicki and her tragic end.

The rest of the cast does a fine job with the material they have been given. Mike Denman is suitably evil as The Stalker and one has to give him credit for spending half the show lurking around on stage with no shirt and actually making this look scary. I do not agree with cutting The Stalker’s song in this production as it takes away from yet another supporting role and makes the show even more into a Rachel Marron solo concert. However, Mike provides some of the few truly gripping moments in the show and gets the chance to let out his inner “psycho” which – judging by the audience’s reaction – he is doing with much success.

Bodyguard3 - Kopie

All in all the show is doing well giving the general public what they want. After all the audience expects Whitney songs when they book tickets for The Bodyguard and Whitney songs is what they get. And the fact that the story has been lost on the way means little when everyone leaves the theatre with a smile on their face.


The Bodyguard is continuing to tour the UK. For more info and to book tickets go to

Ryan Molloy live at the Electric Carousel – 29th August 2015

30 Aug

Ryan Molloy’s long-awaited first public appearance after starring as Frankie Valli in Jersey Boys on Broadway took him to the Electric Carousel, an intimate concert venue in Central London. Advertised as “The New Jersey Songbook” the evening turned out to be a diverse journey through the music history of Jersey – from Frank Sinatra to Ben E. King to The Isley Brothers right to the hits of Frankie Valli and The Four Seasons Ryan treated his audience to a collection of some of the finest songs that were ever written.


The special thing about Ryan is his ability to give every song a completely unique touch. You may have heard all of them a thousand times by various artists but you will always discover something new when you listen to Ryan’s take on them. And while there is no question that Ryan Molloy has one of the best voices in the business he also knows how to entertain and engage his fans making all of them feel part of the evening.


As expected Frankie Valli / Four Seasons’ hits like “Can’t take my eyes of you” and “Beggin'” proved to be favorites amongst the audience along with a mini reunion for which Ryan was joined on stage by former Jersey Boys Matthew Wycliffe, Eugene McCoy and Chris Gardner singing “Who loves you”, “Oh what a night” and a Jersey Boys Medley.


But it was the tender “Stand by me” (Ben E. King) and the powerful “This old heart of mine” (The Isley Brothers) that stood out for me. Here Ryan really showed that he is not just “the guy who sings Frankie Valli”.


Those songs might be what he is best known for but over the years Ryan has proven that he can sing anything from Frankie Valli to modern-day Rock, Pop and Funk. And this concert at the Electric Carousel proved that he is just as comfortable singing a whole collection of classic hits that have their origin in Jersey.

I could keep on praising the undeniable talent of Ryan Molloy for hours but instead I am going to let music speak. Below are some videos from last nights’ concert. Watch, listen and enjoy.

RyanMolloyLive5 RyanMolloyLive4
Check out for all the latest info about upcoming appearances and get in touch with Ryan on Facebook and Twitter @molloyofficial .

Bakkhai at the Almeida Theatre – 22nd August 2015

25 Aug

Written by Athenian playwright Euripides Bakkhai is a Greek tragedy and deals with the two sides of man’s nature. In the play the rational side is represented by Pentheus, the king of Thebes while Dionysus represents the instinctive side.

Ben Whishaw shines in this production that goes by the traditional Greek practice of having three main actors play multiple roles. His Dionysus enters the stage and addresses the audience: “How do I look? Convincingly human?” From that moment on Ben Whishaw puts the audience under a spell with his brooding aura. He has an almost androgynous appearance – a delicate grace that is mesmerising to watch. At times he seems to be possessed, storming across the stage in rage. The next moment his expression resembles that of a cheeky little boy. It’s that contrast between innocence and pure fury that makes his performance so gripping to watch.

Bakkhai Whishaw

Bertie Carvel is just as convincing playing Pentheus. Dressed in a business suit he imposes political arrogance. His interaction with Ben Whishaw’s Dionysus is passionate and drives the play forward. Audience members who have seen Bertie Carvel in Matilda might experience a slight déjà vu towards the end of the play. Some might say he looks too comfortable dressed up in women’s clothing but personally I think this just adds to Pentheus self-assurance. He is absolutely sure about himself, his values, decisions and ideas and not even women’s clothing can change that.

Bakkhai Carvell

Kevin Harvey joins Ben Whishaw and Bertie Carvel but does not get the opportunity to stand out. The pure stage presence of Whishaw and Carvel alone is enough to command the audience’s attention and Harvey’s roles are simply too small to make a proper impact.

Bakkhai is one of the greatest Greek tragedies and being performed in a traditional way this production also features an all-female, all-singing chorus. And while their harmonies are impressive the action grinds to a halt whenever the chorus appears. As beautiful as the singing is it becomes tiresome after a while. One single sentence from Ben Whishaw’s Dionysus spoken with terrifying assurance and command leaves more impact than a five-minute chorus interlude.

Bakkhai Chorus

This production without a doubt centres around its two “stars” who unleash a tour de force on stage. Ben Whishaw and Bertie Carvel are what makes this production truly interesting to watch. These are two of the best stage actors of our generation at work and it is a joy to see them in such an intimate venue bringing Bakkhai to life.


Bakkhai runs at the Almeida Theatre until 19th September. For more info and to book tickets click here.

Three Days in the Country – understudy run at the National Theatre

15 Aug

I was lucky enough to be invited to attend the understudy run of Turgenev’s Three Days in the Country at the National Theatre. Originally called A Month in the Country the play used to have a running time of about four hours and risked losing the audience’s attention half way through. After being renamed and cut to about half its original length Turgenev’s play is now a diverting journey into the 19th century Russian countryside.

The story revolves around Natalya and her ward Vera who both fall in love with the handsome new tutor. Add Natalya’s husband Arkady, her watchful unrequited lover Rakitin, Vera’s old and always terrified suitor Bolshintsov and Katya who is head over heels in love the the tutor too even though she is engaged to be married and you have more than just a simple love triangle. It’s a slightly chaotic but always gripping and entertaining comedy.

Lynn Farleigh as Anna, John Light as Arkady, Amanda Drew as Natalya, Mark Gatiss as Shpigelsky, Cherrelle Skeete as Katya.

At this performance the role of Belyaev, the slightly self-possessed tutor, was played by Mateo Oxley. Even though it is not the most prominent and wordy part in the play Mateo managed to stand out whenever he was on stage. He brought witt and a boyish charm to the role that made it easy to understand why women of all ages would fall for the young tutor.

Mateo Oxley

Mateo Oxley

Paige Carter was a wonderfully feisty Vera who made the transition from teenager to wife to be in just three days look believable.

A special mention has to go to Mark Extance who took on the part of the bitter and completely unromantic country doctor Shpigelsky usually played by Mark Gatiss. His marriage proposal to the governess alone was pure comedy gold.

One more special menton for John Light who joined in as Arkady in act two and made me consider watching the play again with the complete first cast just so I could see his full take on Natalya’s stocky husband.


The set of this production is minimalistic yet effective. There is a huge Russian painting as backdrop, a few walls and doors and some furniture. The sides of the stage are left bare leaving a clear view of the ropes of the fly tower. It’s a refreshingly bare setting for a play full of characters who love to self-dramatise.

Watching this understudy run once again made me realise what a huge amount of talent can be found on London’s stages. You would never have guessed some of the people on stage were playing their parts for the very first time. I was especially impressed by Mateo Oxley. I have followed his career ever since I saw him in The Drowned Man and it’s wondeful to see how he has developed. Keep an eye out for this talented young man. I predict we will see more of him in the years to come.

Three Days in the Country continues at the National Theatre until 21st October. For more info go to

Follow Mateo Oxley on Twitter @Mateo_Oxley or find him on Facebook.

A day in the life of Chowsie – The Diva Dog

12 Aug

Ever wondered what it’s like backstage when you’re a West End star? What about if you’re a West End star who is also a dog?!

The secret star of Gypsy

The secret star of Gypsy

Gypsy’s Nessie (who plays ‘Chowsie’) has given exclusive backstage access to her life treading the boards at the Savoy Theatre.
Chauffeur driven Rolls Royce? Check. Valet service? Check. Olivier & BAFTA winning actress looking out for your every need? TRIPLE CHECK.

A theatrical dog’s life really isn’t all that bad!

Find Gypsy on Twitter @GypsyMusicalLDN and Facebook.
To book tickets visit

Jersey Boys at the Piccadilly Theatre – 8th August 2015

11 Aug

Some might remember the last time I watched Jersey Boys in the West End. It was 14 months ago and I left the theatre rather disappointed. The show I had been supporting for six years was lacking something and I just didn’t enjoy it anymore. I decided to take a break back then and I stuck to it (apart from one visit to the Broadway production last September).

But on Saturday I found myself taking my seat in the Piccadilly Theatre for the first time since that not so enjoyable performance in May 2014. Normally I don’t review a show again and again but I feel like I have to make it up to the show because it is such a vital part of my theatre going past in the West End and I don’t want my last words about it in this blog to be “It is no fun anymore”.


So, just like last time Sandy Moffat was on for Frankie Valli. I admit I was worried because I just didn’t like his performance the first time I saw him. But it really needs to be said: Sandy has grown so much over the past months. His Frankie is well-defined and his vocals are good. He looks at ease on stage and handles the big numbers in the show well. He is not the most charismatic or unique Frankie but he fits in perfectly with the rest of the cast and delivers a great performance.

Ben Wheeler’s Tommy De Vito (understudying Jon Boydon) is just as outstanding and wonderful to watch as ever. He has been with the show from the very start and it is a joy to see how much effort he is putting into his performance. As a repeat visitor you will find little nuances that are one hundred percent unique for Ben’s Tommy. As a first time visitor you will see a perfectly balanced portrayal and one hundred percent commitment to the role.


Edd Post is still in the show playing Bob Gaudio and he does so with a cheeky charm and great vocals. His Bob Gaudio goes from insecure young boy to “Bobby Businessman” in a convincing way – it’s a very slick and professional performance. And despite having been with the show for years Edd’s portrayal feels fresh and full of life.

Gary Watson has joined the cast as Nick Massi in March. I have seen Gary in a few productions over the years (from Saturday Night Fever to A Chorus Line and Fings aint what they used t’be) and he always struck me as a great singer, actor and dancer. In Jersey Boys the acting part is what it is most about and I was curious to see how a rather boyish looking Nick would work in the show. First of all, I am not easily pleased when it comes to Nick. So far only two actors have managed to convince me with their portrayal (Philip Bulcock and Mark Isherwood). Gary’s performance is solid and I can’t fault his portrayal as a whole. I’m not sure I like his intonation though. His voice seemed unnaturally deep and his Nick speaks with a strange slur that doesn’t do anything for me (apart from making me think Nick might have more than just a taste for alcohol). He leaves every single one of his sentence open which means some of Nick’s very on point one liners don’t come across as well as they should. But all in all I think Gary is a good addition to the cast. I have heard people praise his performance which is great – it doesn’t matter I’m not one hundred percent sure about his portrayal if the paying public enjoys seeing his take on the part.


I’m not going to mention every single member of the current cast but I have to name a few more. Simon Adkins has returned to the show as Bob Crewe. There really are no words for how much I’ve missed him in Jersey Boys. In my eyes Simon is the ultimate Bob Crewe. No other performer has ever come close to his portrayal. In short: I am over the moon to have him back in the show.

Mark Isherwood’s Joey Pesci (understudying Matt Thorpe) is a pure delight to watch. He might not be the perfect fit for Joey but the fact he pulls of such a great performance nevertheless just shows what a great actor he is.


Last not least: Matthew Hunt’s Gyp de Carlo (understudying Matthew Cutts). At first I thought he might be too young but I was definitely wrong. He oozes authority on that stage and just makes it work. He delivers a very impressive performance and is definitely my favourite new face in Jersey.

The rest of the cast does a good job. The show is in great shape which makes me happy. I will never be a dedicated return visitor again – those days are behind me now. But it’s good to know that I can pay my former second home a visit now and then and be sure I will have fun and leave the theatre with a smile on my face.

Jersey Boys continues at the Piccadilly Theatre. For more info and to book tickets go to

RED – A new work by Mischief

1 Aug

Dancing has always been one of my favourite things to watch. I’m not into classical ballet but I adore contemporary dance. Over the past one and a half years I have been paying more attention to dance companies in the UK (there are so many – I had no idea before I started looking properly) and now and then one sticks out. One of those companies is Mischief who are currently developing a new dance piece called RED.

RED explores the fairytale Little Red Riding Hood and Dante’s Inferno and is being directed and choreographed by David Lloyd.

“Told through the character of the M.C. the story follows a relationship between RED and the wolf, passionate and intense. Through the change of season the two become consumed by the nature around them drawing the male to become animalistic, controlling, manipulative and the women to become victim, fragile, lost. RED descends into madness as the male transition from boy to wolf devouring her every move. In one last attempt to save her life RED battles the wolf for her territory, axing the wolf to death. BUT did the wolf actually exist or is RED playing both roles?” (taken from Mischief’s sharing website)

Company members for RED are Darragh Butterworth as WOLF, Vinicius Salles as THE M.C / DEVIL and Miranda Mac Letten as RED.

THE M.C. / DEVIL played by VINICIUS SALLES "MIDWAY upon the journey of our life I found myself within a forest dark, For the straightforward pathway had been lost." (Canto 1 - INFERNO - THE DIVINE COMEDY BY DANTE ALIGHIERI)

“MIDWAY upon the journey of our life I found myself within a forest dark,
For the straightforward pathway had been lost.”

Mischief has been sharing the development of RED via live stream over the past weeks. Please do yourself a favour and take a look at the recorded sharing of the past two weeks here:

Right from the start I noticed that this is a show with a proper and clear storyline. Lets be honest, dance pieces have  the tendency to not be very accessible unless you are a) familiar with the material or b) experienced in the world of dance theatre. RED is very much still in development and everything that has been shared is just a rough first look at what will be the finished show. But everything I’ve seen so far has proven that RED is going to be an exciting new dance piece – it’s funny and scary and it will move you to the core.

"Oh, grandmother, what big ears you have!"  "All the better to hear you with."  "Oh, grandmother, what big eyes you have!"  "All the better to see you with."  "Oh, grandmother, what big hands you have!"  "All the better to grab you with!"  "Oh, grandmother, what a horribly big mouth you have!"  "All the better to eat you with!"   (Jacob and Wilhelm Grimm - Little Red Riding Hood)

“Oh, grandmother, what big ears you have!”
“All the better to hear you with.”
“Oh, grandmother, what big eyes you have!”
“All the better to see you with.”
“Oh, grandmother, what big hands you have!”
“All the better to grab you with!”
“Oh, grandmother, what a horribly big mouth you have!”
“All the better to eat you with!”
(Jacob and Wilhelm Grimm – Little Red Riding Hood)

RED is driven by a gripping plot told through dancing and acting. The three dancers are beyond talented and really bring the characters to life. I’ve been particularly impressed by the often raw physicality of the choreography. Combine this with a clever set and great music and you’ve got a mesmerising show.

Dance theatre rarely gets the same amount of support as musical theatre. And as much as I like my musicals (and I know most of the people reading this do too) I really urge everyone to keep an eye out for all the exciting dance pieces that are being performed at venues across the UK.

'A gentleman is simply a patient wolf' Lana Turner

‘A gentleman is simply a patient wolf’
Lana Turner

As for RED – take a look at the recorded sharing and if you like what you see please show your support. You can find Mischief on Facebook and Twitter @Companymischief . Do get in touch and share your thoughts on RED. The Mischief guys are really nice people and would love to hear from you.

And please spread the word and keep an eye out for all the exciting things to come. It’s not every day you get the chance to see a brilliant dance piece being developed right before your eyes.

red4 red5 red6 red2 red1

Jesus Christ Superstar – UK Tour (Leeds)

29 Jul

I’m not a fan of Andrew Lloyd Webber shows in general. It’s not that I properly dislike them, they just rarely appeal to me. There is one exception though. I adore the score of Jesus Christ Superstar. And if done well I think the show is a truly magnificent piece of musical theatre.

Jesus Christ Superstar is currently on tour in the UK led by Glenn Carter as Jesus. He has portrayed the role in the West End and on Broadway and also features on the Jesus Christ Superstar video (I’m guessing there is a DVD version but I actually do own it in good old VHS format). I can’t fault his singing and acting in this production. He does well with what he’s been given by the director. He is not the best Jesus I have seen but I was pleasantly surprised by his portrayal. There is no denying that he doesn’t fit the role age wise though.

Tim Rodgers is a strong Judas and the highlight of this production in my eyes. He has a great voice and manages to bring across just the right mix of anger, passion and despair.

Rachel Adedeji was off on the night I saw the show and I’m ashamed to admit I can’t remember the name of the understudy – the one time I don’t buy a programme this happens, that will teach me. If anyone can help me out I would be grateful because whoever was on for Mary Magdalene was quite simply wonderful: Beautiful clear singing voice and great stage presence, a joy to watch.


The rest of the cast does a good job – special mention for Cavin Cornwall as Caiaphas and Alistar Lee as Annas whose performances are particularly memorable in this production.

When it comes to the score you can’t really go wrong with Jesus Christ Superstar. The staging and direction however is a different matter. My favourite production so far was a modern staging of the show in St. Gallen / Switzerland a good 13 years ago (think Caiaphas in a black suit and Judas dressed all black with a tight shirt and biker boots). This production is a traditional take on the show which is absolutely fine. What – in my opinion – is not fine is the fact that the crucifixion is stretched to unbearable length. You get to witness every nail in the hands and feet in what feels like slow motion all with Jesus screaming and moaning in agony. For me this was painful to watch and completely unnecessary for the narrative. This combined with the fact that the end of the show and the finale have been set up as a kind of resurrection scene are major flaws of this production if you ask me. It’s too much sensationalism followed by too much kitsch.


But despite some let downs I enjoyed the show. It’s great to hear the score live and here you get a talented cast who really manages to do the songs justice.

Jesus Christ Superstar continues to tour the UK until 5th December. For more info and to boo tickets go to


Get every new post delivered to your Inbox.

Join 75 other followers