Have you ever wanted to rock out with Jesus, Judas and the gang? Join 50 years of raving audiences and bear witness this to reinvention… this revival… this ‘resurrection’ of Jesus Christ Superstar. Guided by the lyrics and music of EGOT winners Tim Rice and Andrew Lloyd Webber, this mesmerising new production has hit Australian shores following award-winning stints across the US and UK.
This iconic musical dramatises the Passion, the final weeks of Jesus Christ’s life, and does so through the perspective of Judas. Being an entirely sung-through musical, the narrative is told exclusively through lyrics, staging and choreography – admittedly not my favourite style, but one which takes a great deal of finesse to pull off. It requires the viewer to envelop themselves in the lyrics and pay attention to the choreography in order to glean the meaning and reason behind every character choice. When pulled off successfully it’s an incredible, emotional feat, but if lyrics are missed or hard to decipher (like some in here), it can lessen the impact of the story being told.
The first act is a perplexing case of being great, while giving off the feeling that something is missing. There’s no denying the musical prowess of the performers and Andrew Lloyd Webber’s stunning compositions, but the impact of the production’s early scenes wasn’t felt. Some moments shine through, like Mahalia Barnes‘ (Mary) soulful, breathtaking rendition of “I Don’t Know How to Love Him“, but overall I found it hard to invest myself. It comes down to interpretation – I can’t say the musical numbers interpreted the narrative in a way that made it easy to follow or engage in. Plus some lyrics were hard to hear over the loud rock tunes. That, in turn, left me entertained yet uninvested, requiring me to draw from my knowledge of these events to provide context.
However, that was all about to change.
Jesus Christ Superstar can be encapsulated by the utter perfection of its second act. When the curtain rises on Judas having received his reward, the subsequent 50 minutes or so is exhilarating, electrifying and emotional. As the narrative weaves from the Last Supper to the crucifixion, the funk, soul and rock ‘n’ roll is amplified to the nth degree. The musical performances are also booming, powerful, sombre and exciting, enhancing the narrative and providing memorable tunes that stick with you long after leaving the theatre.
I mentioned ‘impact’ being absent from the first act, but there’s no shortage of impact where the second act is concerned. The narrative is conveyed effectively through song in a manner that draws every ounce of emotion out of the performances. Michael Paynter (Jesus) absolutely shreds the vocals in “Gethsemane“, bringing the house down with a deep, emotion-laden rendition that sets a poignant tone for the events to come. Not long after, Reuben Kay (Herod) graces the stage and lifts the roof of Melbourne’s Princess Theatre with a flamboyant, hilariously satire performance of “King Herod’s Song“. Encapsulated by the funky sound of “Superstar”, sung with passion by Javon King (Judas), the run through to curtain call is a testament to how this musical has stood the test of time.
I’ve highlighted some individual musical numbers, but it should be specified that the voice performances are unreal. It’s impossible to single out one specific performer as each of the leads have their respective moments to leave the audience’s jaws on the floor, and they all deliver. Michael Paynter is able to hold some enormous notes and garner raucous applause a number of times through the musical. Mahalia Barnes taps into her family-born talents to hit some undeniably impressive notes. Meanwhile, Javon King leads the emotional charge of the production, fuelling audiences with the heart of the narrative though Blues-like vocals.
The talents aren’t just limited to the lead performers either. The large, diverse ensemble elevates the production with their beautiful, operatic voices, layering over one another to produce some delightful harmonies. The band behind the scenes, or in this case up on the steel-lined balconies, don’t always get the acclaim they deserve, but this rock musical hinges on the rockin’ electric guitar which is a character in and of itself.
A point of difference in this musical that threw me for a loop, as I’ve never seen it before, is the use of handheld microphones. It’s clear why stage musicals generally opt for various head and body mics for the sake of immersion, but it’s also clear why Jesus Christ Superstar has opted for a more traditional option. The use of handheld mics is a fun touch that enhances and emphasises the rock concert backdrop that the story is built on. It has the production straddle the line of being both a concert and a musical, a very refreshing approach.
There’s many reasons the global phenomenon that is Jesus Christ Superstar should be seen. Whether it be the legendary score, the phenomenal second act or the mesmerising vocal performances, this is a revival that will have you walking out feeling reborn. While it took some work to really soak in the first act, the impact and magnificence of the second is a sight to behold. Plus you’re in the hands of Tim Rice and Andrew Lloyd Webber, who just don’t put a foot wrong, so do yourself a favour and witness the crucifixion everyone is raving about.
FOUR AND A HALF STARS (OUT OF FIVE)
Jesus Christ Superstar is now playing at the Princess Theatre in Melbourne through to June 22nd, 2025. It then resurrects in Brisbane from June 29th. For more information and to purchase tickets, head HERE.
Reviewer attended on Wednesday March 19th, 2025
Photo credit: Jeff Busby
