Theatre Review: Jesus Christ Superstar

Jesus Christ Superstar

Lyrics by Tim Rice

Music by Andrew Lloyd webber

Lyrics by Bob Crewe

Director Timothy Sheader

Photo Credit Jeff Busby

Capitol Theatre Sydney

Reviewed by Ron Lee, CSP, MAICD

It’s been 52 years since I was astounded and impressed by the first Australian production of Jesus Christ Superstar which opened at the Capitol Theatre on 4 May 1972. The production was the biggest theatrical ground breaker since Hair was first staged at the Metro Theatre three years earlier. The Capitol is also the home of this latest iteration, so forgive me for the odd comparison.

The original production had an amazing cast that included Trevor White as Jesus, Jon English as Judas, Arthur Dignam as Pontius Pilate, Reg Livermore as Herod, Michele Fawdon and later Marcia HInes as Mary Magdalene, Stevie Wright (The Easybeats) as Simon, Tommy Dysart (“G-O-G-G-O…) and Rory O’Donoghue (Thin Arthur in The Aunty Jack Show). Also in that cast was a young Michael Caton (“Tell 'im 'e's dreamin’”) whose stock price shot up when he appeared in The Castle.

With this one, the opening night vibe was loudly and intensely buzzing with excitement and anticipation, much more than most first nights, and when we were blasted with the opening electric guitar solo we knew that we were in for a real rock opera.

An understated Jesus emerged wearing a baseball cap and a hoodie. In the first act, Javon King as Judas is absolutely riveting. His stage presence and vocals are powerful, just as Jon English's were in the original. His animated expressions of doubt, challenge and confusion perfectly juxtapose with Jesus’ passivity.

After the intermission, Michael Paynter dramatically elevated his performance as Jesus. His soaring vocals at times reminded me of John Farnham at his peak. You don't often see a rousing standing ovation before the end of a show, and deservedly so. His bit on acoustic guitar was mesmeric. 

Mahalia Barnes is Mary and she vocally delivered and felt the part when it mattered. There were a couple of minor issues with diction. It might have been interesting to have seen Marcia Hines reprise her role. 

Reuben Kaye expectedly makes the most of his high-camp cameo as Herod. I wondered how much influence director Timothy Sheader had over the performance of Herod’s Song. Still, there were many Reuben Kaye fans in the audience and it looked like Kaye was holding back from interacting with them. The temptation was very much there.

Judas and Jesus’ death scenes could have been more intense but it would have slowed the pace.

If the original production ran at 33 1/3 RPM, this one is at 45 RPM. Younger people might need to consult a Boomer to explain that reference. 

There are more memorable songs in Jesus Christ Superstar than in any other Andrew Lloyd Webber musical. Would anyone even think of staging a concert comprised of songs only from Starlight Express?

Since that first production there have been several concert versions of Jesus Christ Superstar because those songs of Tim Rice and Andrew Lloyd Webber are so powerful, popular and memorable. 

It’s fantastic that there’s a full-blown, no-holds-barred, high budget, grand theatrical experience of this work. Even if you’re not a regular theatre-goer, you’ll be delighted, elated and even excited by this production of Jesus Christ Superstar.