Perennial favourite Jesus Christ Superstar blazes back onto the stage, making a highly welcome return in this latest and greatest production of the classic Andrew Lloyd Webber and Tim Rice rock opera.
Jesus Christ Superstar is incredibly tight and lean, packing a slew of hit songs into a brisk running time of just 110 minutes, including interval. With the supremely simple concept of presenting the final week of the celebrated life of Jesus through a post modern lens, composer Lloyd Webber and lyricist Rice created a sung-through rock opera for the ages.
Staged and performed in this new season as if for a 10,000 seat arena, Jesus Christ Superstar imparts gigawatts of electric energy as its fills the Princess Theatre with sound and fury.
Such is the perfection of this touring cast that it is hard to believe that the production was not created directly upon them. Premiering at Regent’s Park Open Air Theatre, London in 2016, this staging has deservedly enjoyed a life well beyond this initial season, returning to Regent’s Park as well as touring the UK and the US.
Crafted with utterly cohesive direction and design, the creative team has clearly worked in close collaboration with a singular vision. Every element of design supports the whole, with performance, music, and dance seamlessly blended to drive storytelling and just flat out thrill the audience.
Director Timothy Sheader presents Jesus and his followers as regular people in an extraordinary situation. Corruption of the High Priests creates a clear parallel to reckless abuses of power in modern society.
With a timeless, universal setting, the performers wear comfortable grayscale costumes and play on a single set studded with abundant featured lighting. Designer Tom Scutt goes easy on the costumes, providing a sense of spectacle with the scale of the staging, expertly supported by lighting designer Lee Curran.
Scutt’s design extends to imaginative props, such as the High Priests’ croziers that flip to be microphone stands. In a dazzling touch that is previewed on the promotional poster, Judas is literally tainted by his acceptance of the 30 pieces of silver, his hands left dripping in silver paint. Sparkling gold glitter is also a recurring design element, used cleverly to offset the darkness of the 39 lashes suffered by Jesus.
Choreographer Drew McOnie conjures a uniquely muscular vocabulary of dance, which is performed with sharp precision and unflagging energy by the triple threat cast.
The first-rate work of musical supervisor Tom Deering is perfectly complemented by local musical director David Skelton for a sensational performance of the much loved and very well known score. Skelton on keyboard leads seven fellow musicians, with particularly stellar work from Simon Hosford on lead guitar.
The production benefits immensely from the terrific work of sound designer Nick Lidster (for Autograph), supported here by local sound designer Michael Waters. The performance begins with leg-shaking volume, going on to feature pristine reproduction of vocals, aided, of course, by impeccable diction from the cast.
Michael Paynter wins hearts as a gentle everylad Jesus, bringing out highly affecting raw motion as Jesus suffers through the mockery of his trial and crucifixion. Paynter’s youthful appearance as Jesus clearly highlights the senseless tragedy of a life cut short. Such is the incredible power and quality of Paynter’s rendition of iconic rock tenor ballad “Gethsemane (I Only Want To Say),” it earned two mid-show standing ovations on opening night.
Javon King brings a strong sense of inner conflict to Judas, forging a strong connection with the audience and keeping them on the side of Judas despite the terrible betrayal he commits. A superb vocalist, King sets the standard with opening number “Heaven on Their Minds,” later bringing down the house with rocking finale “Superstar.”
Another incredible vocalist, Mahalia Barnes imbues Mary with serene devotion, delighting the audience with impassioned performances of classic ballads “Everything’s Alright” and “I Don’t Know How to Love Him.”
While Scutt’s aging rocker costume for Pontius Pilate undermines the sense of power of the character’s position as Governor, the look nonetheless perfectly suits portrayer Peter Murphy, who sings the role of Pilate with a very well tempered, yet well preserved, rock edge.
Elliot Baker as Caiaphas and John O’Hara as Annas bring significant presence to the scheming High Priests. Baker sings Caiaphas with that impossibly low rumbling bass sound. O’Hara brings a devilish sparkle to the eye of the manipulative Annas.
One of musical theatre’s greatest cameo roles, King Herod takes to the stage for one show-stopping number in act two and invariably walks away with the show at that point. Looking for all the world like the love child of Reg Livermore and Erika Jayne, Reuben Kaye memorably continues this great tradition. Entering draped in acres of gold lamé, Kaye soon shakes off the robes and devilishly scampers about the stage like a runaway Frank-N-Furter.
The source of the heady quality of ensemble vocals is made clear when each and every featured solo line is sung at the standard of a leading performer. The expertise and sheer commitment of the ensemble is a huge asset to the high standard of the production. Special mention to compelling performer Darcey Eagle, who gives her all to a featured role, credited as Mob Leader.
Sure to be the hot musical theatre ticket of the coming months in Melbourne (and perfectly timed for Easter), Jesus Christ Superstar is the very definition of must-see musical theatre.
Jesus Christ Superstar plays at Princess Theatre, Melbourne until 22 June 2025. For tickets, click here.
Jesus Christ Superstar plays at Lyric Theatre, Brisbane from 29 June 2025. For tickets, click here.
Photos: Jeff Busby
Categories: Music Theatre, Reviews
Man in Chair 
The older I become and the more I see it my love of and enthusiasm for this master class of musical theatre just grows and grows. Your review Simon clearly supports my enthusiasm. I’ve been holding out on its touring to Adelaide but I feel the chances are slim at the moment. JCS is one musical too that performs strongly in the intimacy of amateur theatre, especially high school productions where the energy and rawness of youth supports the material that forever remains relevant. JCS will be with us forever.
P.S. Have just watched the Hey Mr Producer 1998 concert on dvd that includes the entire concert . I had an old VHS copy that I had worn out !! The performances still remain the most incredible gathering of musical theatre talent under one roof. The dvd image is incredibly sharp and the sound superb.
So lovely to hear from you, Edward.
It seems a shame that this production of JC Superstar does not tour to Adelaide (and more) as it looks to be easily transportable. And, as you say, the show is always popular.
I loved that Hey, Mr Producer concert. At the time, it provided a way to see stars and numbers from shows we would not have seen. I watched my original copy of it multiple times. You have inspired me to revisit it!
Amazing show, The dancing not mentioned, they were fantastic. The notes The singers hit..OMG, I hope they have a big supply of microphones.
great show..go see it.
PLEASE, pretty please come to Adelaide.
Music- top rate. Singing- top rate. Production ???. I found the “symbolism” style confusing. My kids who have not seen a production of the show before and who have limited understanding of the story were confused. Stylised costuming was used which made it difficult to understand who the characters were portraying. Herod – Reuben Kaye. OK funny as a stand alone part but frankly his little one man show overawed one of the best songs which could not be understood due to the campness of the delivery. Overall I enjoyed the show but I feel it could have been better if the production team understood that most of the audience would not automatically understand the story and more traditional costumes and sets were used to better portray the story. Good but missed it a bit for me.
Thanks for these comments, Jason.
I guess a tricky part of this musical has always been the absence of dialogue scenes, which is where the story would usually be clearly told. The director and designers seem to have taken advantage of the fact that a lot of people already know the story but I can totally see your point that newcomers would struggle with the relationships. I didn’t mention this in my review, but I wondered whether newcomers to the story would understand what was meant to have happened to Judas when he enacted his ending with a microphone.
At least, as you say, the music is top rate! I am so glad and grateful to hear this score in the theatre again. It’s been too long.
I was at the opening night of Jesus Christ Superstar in Sydney ….amazing memorable experience.I went this week to see the Melbourne production …the cast have amazing voices and the staging and lighting were impressive…but I feel the whole story was delivered more as a rock musical …the traditional story was somewhat lost …
Probably the worst show I have ever seen, a woke pitiful revival of a classic.
The costumes, if you could call them that, were little more than rags that appeared to come from Vinnies, probably the best of all was Jesus in a baseball cap. Really creative.
Many of the performers actually have talent, although it’s likely most of them will look back and cringe about being a part of such a low grade production.
I loved the production today.
I have seen many times, from London in the 80’s & a few times in Melbourne.
It was absolutely outstanding. I could go again & again & again.
Thanks, Andrew. I have to admit that I have already attended this production again. And would like to do so again still!
Going again in 2 weeks.
Yippee
Simon, I applaud your review of this stunning production. I could have walked right back in and experienced it again. It excelled in every department of performance and production.
I saw and heard aspects of this show that have previously evaded me in many previous viewings. The sound palette was extraordinary, full of depth and clarity, with performers giving a musical theatre masterclass in how to use microphones that in themselves became an integral part of the sound and movement choreography.
Creativity in gesture and in the use of the stage was inspired. Michael Paynter’s rendition of Gethsemane was a show in itself and deserves its own website !
I’m sooo glad I travelled to Melbourne to see this show and only hope the producers have second thoughts and bring it to Adelaide’s Her Majesty’s. Overall : a top experience in musical theatre .
Great production, the voice of Michael Paynter particularly impressive, dance choreography is also amazing.
I have seen the original movie and the New York production with John Legend. The Melbourne production brings a different perspective and more a rock presentation, it’s different, creative and wonderful. Well done Australia for putting on such a great show.
Went to the production last night at The Lyric Theatre at QPAC.
Very disappointing.
Costumes were not In-sync with the era.
Jesus wore a base ball cap.
Lots of “interpretive” dance, which didn’t seem to flow.
We left at interval…..