Review: Jesus Christ Superstar Will Surprise You

The 50^th anniversary version of Jesus Christ Superstar, originally directed by Timothy Sheader for Regent’s Park Open Air Theatres, has arrived at Melbourne’s Princess Theatre. Get ready for this highly dynamic and electrifying production to surprise you!

As a massive fan of Jesus Christ Superstar, I was delighted to learn that this musical has an extra-special place in Australian theatre history. Taking advantage of its concept album popularity, creatives turned to Broadway for an official production in 1971. It was ultimately unsuccessful, and looking for further inspiration, they found Australia’s (now) legendary duo – director Jim Sharman, fresh off the highly successful Australian production of Hair in 1969 and designer Brian Thomson for their full-scale 1972 production. 

Inspired by the raw Australian rock scene of the era, Sir Andrew Lloyd Webber and Tim Rice—along with the Aussie creative team’s direction and design—brought the first highly successful version of the biblical rock opera mega-musical to life.

Jesus Christ Superstar explores the final week of Jesus’ life up to his crucifixion as told from the perspective of Judas Iscariot, one of his twelve chosen apostles. Judas wrestles with his friendship, morals and values, becoming disillusioned with Jesus’ teachings and behaviours, including his relationship with Mary.

Threatened by Jesus’ behaviour exposing their corruption, the High Priests begin looking for a way to put him to death and get rid of their problem. Judas, in exchange for thirty pieces of silver (blood money), betrays Jesus but is tormented by the outcome. Pilate, the Roman Governor of Judea, is presented with a shackled, beaten Jesus and decides his fate with devastating consequences.  

With sound design by Nick Lidster and Michael Waters at concert arena levels, the audience is left feeling every note. The bold creative choice to use handheld microphones with a live nine-piece band on stage gives as close to an authentic rock concert-style experience as possible. Occasionally, though, this reviewer found that the mics diminished the physical characterisation.

The band, led by Dave Skelton, captures the emotion and power in Webber’s score. From the first note strung by lead guitarist Simon Hosford, the band gives a powerhouse performance, leaving your heart pounding and emotions flowing. Fifty years later, the music continues to be just as sensational. Accommodating the various styles and vocal ranges of the leads, a variety of the cast incorporate instruments into their performance.  

As Jesus Christ, Michael Paynter is a superstar. No question!  Hitting some extraordinary falsetto notes, reminiscent of John Farnham, his portrayal is thrilling to experience. I was glued to my seat for his phenomenal version of ‘Gethsemane,’ which resulted in a well-deserved standing ovation.

Javon King brings his musical theatre background to the role of Judas, demonstrating his inner turmoil. Often connecting directly to the audience during powerful solos, he draws them into his choices and emotions. Together, King and Paynter present a masterclass in vocal technique, evoking shock and tears to many sitting around me. 

As Mary, Mahalia Barnes gives a vocally styled performance worthy of her family namesake. Peter Murphy, tattooed prominently with a Roman SPQR eagle, plays a highly authoritative Roman Governor Pontus Pilate, who holds Jesus’ life in his hands.

As High Priests Caiaphas and Annas, Elliot Baker and John O’Hara complement each other beautifully. It is always impressive to hear the first few of Caiaphas’ incredible bass vocals asserting his dominance as Head Priest.

The much-needed comedic relief of King Herod’s one scene, played by Reuben Kaye, is a showstopper. Kaye is costumed in a massive gold cape that shows off opulence against the muted modern design and natural colour palate of the rest of the cast. Commanding attention as he cheekily struts around, Kaye fully embraces the unnerving arrogance of the role, taking wicked and sinister to a whole new level. 

The show is often visually frenetic, with an ensemble full of local talent holding it together. The ensemble demonstrates impressive athleticism within the highly contemporary and interpretive style choreography by Drew McOnie. At times they looked like they struggled for space, with the set design by Tom Scutt feeling a bit too big for the Princess Theatre stage.

Scutt packs the stage from wing to wing with a multi-level set using scaffolding, metals and grates, with Judas’ tree and an upright cross looming in the background.  Arranged as a massive fallen cross, the set helps elevate those characters in power, dominating the stage and focusing attention. The juxtaposition of erratic mob-style dancing against the stillness of the religious authorities standing upon the cross was very effective.   

As a completely sung-through musical, lyrics were sometimes difficult to understand with the sound design. For those without some Christian experience, Jesus Christ Superstar can be difficult to follow, especially Act One, being at an often-quick pace. A synopsis in the program may have been a useful inclusion.

Jesus Christ Superstar continues to stand the test of time, still packing the punch it needs. The phenomenal cast takes audiences through a whirlwind of emotions with their mind-blowing vocal performances. With its postmodern visuals and a freshened-up soundtrack, the 50^th anniversary Jesus Christ Superstar is an unmissable production.

Jesus Christ Superstar runs until 22 June at the Princess Theatre, 163 Spring Street, Melbourne. 

It then transfers to Brisbane from 29 June.

Tickets: https://jesuschristsuperstarmusical.com.au/tickets/melbourne/

Website: http://www.jesuschristsuperstarmusical.com.au

Socials: https://www.instagram.com/jesuschristsuperstarau/

Photo credits: Jeff Busby