Reviewed by: Georgia Cassimatis
God love this musical. Literally. As a Gen Xer who grew up with Boomer parents, this musical for some of us, if not most, is in our blood: our parents witnessing the talent of Jon English playing Judas at that same theatre 51 years ago.
From there, the musical soundtrack would permeate our culture, and vinyl record collection: hit songs such as ‘Everything’s Alright, Everything’s Fine’, and ‘I Don’t Know How to Love Him’ featuring in school plays, karaoke bars, singing competitions and Eisteddfods.
The brainchild of creative geniuses Tim Rice (lyrics) and composer of some of the world’s most famous musicals Andrew Lloyd Webber (music), a highly contentious musical at the time, it has morphed into iconic status as one of the world’s most successful stage musicals.
And here we are in all its 2024 glory, with British Director Timothy Leary resurrecting it (John Farnham played Jesus in the 1992 version) for the exact same stage.
Loosely based on some of the Gospels of the New Testament, the storyline follows Jesus in the final days leading up to the crucifixion, and the personal conflicts between Jesus, his disciples, the people of Israel and the leadership of the Roman Empire. Love is declared, friendships are betrayed and leaders are threatened.
A fast-paced, sung-through musical (meaning no dialogue), the simple set and costume design (by Tom Scutt) with its scaffolding, dark mood, and ominous lighting, switching between darkness and bright lights, sets the scene simply and perfectly for the ebb and flow of good versus evil. The ominous musicians playing solo guitar, keyboard and saxophone, positioned on various levels of the scaffolding eerily exacerbated the ominous mood.
The energetic choreography (by Drew McOnie) with its contemporary slash funk movements, and the street wear hoodie costumes, created a Christian rock, funk vibe, which also leant to the quick costume changes between evil versus godliness: a clever technique.
Jesus, played by the boyish Michael Paynter with his God-like vocals, had the audience clapping for more: the song ‘Gethsemane’, the garden where Jesus prayed before he was arrzsted, belted out to long extended high note perfection.
Mary Magdalene, beautifully and gently played by soul and blues powerhouse Mahalia Barnes (daughter of Jimmy Barnes), gave the two iconic hit songs ‘I Don’t Know How To Love Him’ and ‘Everything’s Alright Everything’s Fine’ justice.
Judas (Javon King), the ultimate betrayer, who felt betrayed by Jesus’s newfound fame and who sold him to the Pharisees, also belted out hit songs to perfection, creating and sustaining the much-needed tension throughout the show.
The surprise gothic style, punk costumes of High Priest Caiaphas (Elliott Baker) and Annas (John O’Hara) who saw Jesus as a threat, were intriguing and powerful, while the cameo appearance of Reuben Kaye, who played Herod was a hit.
Kaye’s Herod was big, brash, camp and magnetic. Decked out in a gold cape and glittery makeup he looked like a jewellery doll in a jewellery box, the bland set design highlighting Herod’s drag queen fabulousness, and the one liner declared to Jesus punchy, declaring that ‘…if you are ‘Son of God’, ‘King of the Jews’ and ‘Leader of the 12 Disciples’, then please turn his water into wine!’
A piece of history and an icon in musical theatre, you’ll want to get home to download the soundtrack (if you don’t already have it).
Jesus Christ Superstar is playing at Sydney’s Capitol Theatre until January 26, 2025. Tickets start at $69.90+bf, and you can buy them over here. Find out more about the national tour at jesuschristsuperstarmusical.com.au.