IT is interesting that some of the best British Theatre continues to happen outside the M25, especially now.

Yes, The Watermill in Newbury has opened a must-see version of the 1970 Andrew Lloyd Webber/Tim Rice biblical opera Jesus Christ Superstar, featuring a large cast of actor-musicians and a Gethsemane scene that takes place around a fire pit in the garden.

Jesus Christ Superstar, originally conceived as a concept album in 1970, was only later adapted into a sung-through musical. This unique format eliminates spoken dialogue, making it a truly immersive experience for audiences.

Director Paul Hart portrays Jesus (Michael Kholwadia) as an ambivalent political leader, icon, with fluid staging responding to Webber’s eclectic score.

Despite evasiveness about Christ’s divinity, the production taps into New Testament and uses secular rhythms to awaken spiritual longings.

Indeed, Kholwadia is an unforced, quietly impressive Jesus, while Michali Dantes plays Judas, a young fanatic who is watchful and isolated right from the start. His electric guitar screeches as he loses the plot.

“I Don’t Know How to Love Him,” Mary Magdalene’s mournful ballad, was the show’s big hit, and its enduringly pretty melody is sung here with soulful flourishes by Parisa Shahmir.

The most important part of the production is the mob, which is whipped into a frenzy by populist politics. It’s clear that a mob is always a mob, regardless of which side it supports.

There’s not a weak link in the actor musician cast.

Christian Edwards struts around the stage as a tightly wound Pilate, his performance big, theatrical, and enjoyably precise, with a wardrobe to die for.

King Herod (Samuel Morgan-Graheme) strutting song is still camp, but that’s a moment of necessary comical relief.

Hart’s resurrection deploys a visual imagination: the action flows like a stream over the rapids, accompanied by the multitalented actor musicians, that twangles and bubbles, disguising the eggy bits and enlivening the good. 

Rory Beaton’s stadium-style lighting helps here. Everything plays to the strength of the intimate venue.

Anjali Mehra’s energetic and gut-punch choreography pulses like a heartbeat throughout the show, complementing the high-energy songs. Never over done.

After Roman thugs drag Jesus off, bind his hands, and leave him with a look of resignation, he returns for a flogging. Each lash is counted down, represented by red splashes of paint across his torso and flashes of Daniel Denton’s video design are projected on the brick wall.

The final scene and title number – is one of those high moments of art when character and symbol coalesce.

All in all, it’s good to be reminded that regional theatre competes with London’s best.

This ‘Jesus Christ Superstar’ is thoughtful and challenging. It’s an expected and considerable pleasure that really rocks. 

Just go.

Jesus Christ Superstar runs at the Watermill Theatre, Newbury until 21 Sep 2025.