24 June – 21 September

The show, which I suppose now qualifies as a ‘classic’ rock opera, in its original conception plays fast and loose with the sensibilities of some of the more pedantic Christians. In this latest incarnation the director, Paul Hart, nothing loath has given the show a refresh. Mr Hart has the followers of Jesus hanging out in a derelict church. Designer, David Woodhead follows the aesthetic through with punk or grunge clothing and graffiti on the walls. The feeling is edgy and contemporary. Then, in a clever use of the Watermill’s grounds for the beginning of act two the action and audience move to the mill gardens which takes on the role of the Garden of Gethsemane.

The raw energy that Mr Hart has harnessed, feeds the conception of the disciples as a bunch of subversives out to disrupt the system of Roman rule. Of course the relevance to contemporary politics is never far away. Michael Kholwadia’s Jesus is every inch the iconoclastic visionary, a little peeved with the expectations of his followers. On the other hand the troubled Judas (Max Alexander-Taylor) the ‘true believer’ prepared to do what it takes for the cause, has no time for due process and Jesus’s somewhat Fabian method of political change that relies on the more nebulous, ‘hearts and minds’ approach.

The impressive talent of the young cast of actor-musicians is there for all to see in the close setting of the Watermill. The actors, who are also the onstage band have the ability to not only act with conviction whilst singing, but to switch seamlessly into the role of musician in such a way as to make it seem almost the natural thing to do. The instruments do not form barriers between characters, rather are more a means of communication. And the musicianship is flawless. The singing voices of the cast are strong throughout and, in the case of Mary (Parisa Shahmir) movingly tender.

The intricate and vigorous dance routines on the Watermill stage require a precision that adds jeopardy and an excitement, which is heightened by being almost in the audience’s lap. There is no faking it being so close, the emotional intensity has to be real and in this sense the cast are nowhere lacking.

Whilst Jesus is the eponymous, titular star, the musical might as easily be titled, ‘Jesus and Judas’, particularly with the latter having the more interesting psychological profile in the show. A raunchy fetish scene with Herod (Samuel Morgan-Grahame) brings comedy and variety whilst a humane Pilate (Christian Edwards) gives pause for thought as to who the real villains of the piece are.

The show is a reworking of great verve and seemingly boundless energy that does justice to the story.

★★★★★   Graham Wyles  4 July 2025

Photography@ Pamela Raith Photography