Review by David Gardette
As the iconic Jesus Christ Superstar continues to celebrate its 50th anniversary, this reimagined production based on the acclaimed London 2017 Regent’s Park Open Air Theatre production, brings a fresh, gritty energy to Andrew Lloyd Webber and Tim Rice’s legendary rock opera. Under the deft direction of Timothy Sheader, the show pulsates with the high-octane energy of a rock concert, while delivering an immersive theatrical experience.
At the heart of this high-voltage production is Michael Paynter, whose portrayal of Jesus is a true showstopper. An accomplished rock musician, Paynter’s powerhouse vocals soar. To hear this is his first foray into musical theatre is almost unbelievable — as he holds the stage with the confidence of a seasoned MT pro. Paynter’s conflicted, tortured messiah strikes a delicate balance between vulnerability and strength.
Opposite Paynter, stands the equally commanding Javon King as Judas. King’s searing vocals make him a formidable counterpart to Jesus. The chemistry between Paynter and King, particularly in their powerhouse duets, are performance standouts.
Mahalia Barnes as Mary Magdalene brings a beautifully soulful although restrained presence, unfortunately leaving the role of Mary emotionally under-explored. As the darker forces of the show, Elliot Baker (Caiaphas) and John O’Hara (Annas) are formidable antagonists. Baker’s rich, bass notes are remarkable, while O’Hara’s sinister high priest creates an ominous presence. As Pontius Pilate, a leather clad Peter Murphy exudes a nuanced authority to the Roman Governor with a skilful rock vocal.
Reuben Kaye’s cameo as the pompous monarch Herod offers a much-needed moment of levity from an otherwise heavy production. The extravagant, high-camp performance is just as outrageous as his wonderfully glamorous costume, bringing a burst of camp larger-than-life energy and is a true crowd-pleaser.
The extraordinarily hard working ensemble are one of the strongest I’ve seen. Their high-energy and strong vocal, whilst maintaining complex choreography with precision, creates a vivid, visceral atmosphere. Drew McOnie’s choreography, a striking fusion of eclectic styles, is a standout. It’s gritty, relentless —complementing the raw, dystopian aesthetic of Tom Scutt’s set and costume design. The staging, though minimalistic, is effectively imposing.
Musical Director Dave Skelton leads an exceptional rock ensemble, delivering a sound that is dynamic. The band’s thumping rhythms and sharp instrumentation add an electrifying edge to the production. However, during the high-impact numbers, there is a noticeable imbalance in the sound mix, where the vocals get drowned out by the overwhelming score – unfortunately problematic during the vocal-heavy numbers where clarity is key to following the narrative.
A mix of concert and theatrical performance, this 50th anniversary production highlights the exceptional talent within the Australian theatre community and delivers a highly entertaining albeit very loud, pulsating and rocking night at the theatre.
Jesus Christ Superstar is playing at the Princess Theatre until June 22 before heading to Brisbane. Tickets
