Jesus Christ Superstar at The Watermill
When I was told the Watermill was doing Jesus Christ Superstar, I thought they were mad. I honestly didn’t think the space—or the concept—could handle it.
It’s a huge show. Loud. Relentless. Full of emotional weight. And they were doing it with 18 actor-musicians. That’s a tough ask. I doubted they’d find that many people who could all play and sing to the standard this show demands.
Turns out I was wrong. Completely. They’ve smashed it.
I’m mixing the show, so I’ve got skin in the game, but even so—this one’s something special. From day one, it was clear that the usual rules weren’t going to apply. We’ve got electric guitars and drums shoulder to shoulder with flute, cello and trumpet. Everyone on stage is doing something—singing, playing, moving, sometimes all three at once.
That many people on a stage that small? It should sound like a mess. But it doesn’t. It sounds tight. It sounds deliberate. It sounds good.
The mix is working hard, but it’s not doing all the lifting. Tom Marshall’s sound design deserves proper credit. He’s shaped it in a way that feels big without overwhelming the room. You get power when the show needs it, but you also get space. Dynamics. Room to hear things land.
Judas hits hard, Mary softens the edges, and Jesus holds the emotional line. Every vocal is present. Every instrument has its place. And it’s not just about being clean—it’s about being expressive. There are moments where the whole band’s ripping, but you still catch a whispered line or a breath before the next lyric.
Critics have said the same. The Stage wrote “not a lyric lost”. West End Best Friend called the sound “crystal clear”. The Guardian mentioned the score being “booming and intense” without losing the meaning behind it. And they’re right.
It’s loud, but not just for effect. It’s delicate when it needs to be. And it never lets the story slip. That’s the bit I keep coming back to. We’re not just making noise. We’re telling something. You feel it.
It’s taken serious work from everyone—cast, band, design, direction, crew—to pull this off. But from the first cue to the final note, it holds. It lands. And I think that surprises people.
I had my doubts. I didn’t think we’d be able to do this show justice in a space like the Watermill.
Now? I think we’ve done something better. We’ve made it personal. Immediate. Unavoidable.
If you’re unsure, don’t be. Go see it.
You’ll probably leave thinking the same thing I did: we’ve pulled it off.
“The sound, from the most delicate whisper to the full force of the rock anthems, is crystal clear, ensuring every lyric and note lands perfectly.”