Have we ever really seen musical theatre if we haven’t seen you? For 50 years, you’ve been the godfather of musicals. When it comes to describing you in this latest production, sentences fail. We can only really conjure up a string of adjectives. Seismic. Intense. Emotive. High-energy. Loud. Brilliant.
You’re also weird. So very weird. Guess that comes as a right of passage with any Andrew Lloyd Webber and Tim Rice production though. Your score creates a continuous, ominous build-up toward your tragic ending – the bit where Jesus dies (we’re hoping that’s not a spoiler for anyone). To be fair, the events leading up to the crucifixion are assumed knowledge, and first-time viewers shouldn’t expect to receive a biblical break-down. They’d be too mesmerised by the production to pay attention anyhow. Effectively, Judas Iscariot, one of the Twelve Apostles, doubts and then betrays Jesus – who is ultimately condemned to death.
Javon King as Judas (the primary narrator of the story), and Michael Paynter as Jesus, are breathtaking. Paynter often sounds strikingly like John Farnham, who performed the role over 30 years ago. But it’s his rendition of Gethsemane that needs to be seen to be believed. Let’s just say we never knew it was possible to hold a note that long. And when it comes to portraying Jesus’ suffering at the hands of Pontius Pilate and King Herod, he brings what is needed, and then some. Who needs a whip, when the agony is just as immense when being lashed 39 times with glitter? And as we watch the crucifixion, we can’t help but feel it all so much more poignantly than we ever did during our high school religion classes.
The rest of your cast are uniformly superstars as well. Reuben Kaye, as Herod, is splendidly over-the-top, and Mahalia Barnes, as Mary, gives us some beautiful moments to breathe amidst a tempo that is otherwise a hundred miles an hour from start to gruesome end. Speaking of tempo, those rock band guitar riffs that run throughout so many of your songs are perfect additions to our workout playlists. They’d be giving your ensemble a decent workout, that’s for sure.
We’re actually so impressed by the ensemble’s ability to collectively maintain powerhouse vocals, whilst dominating the stage throughout all this fast-paced, non-stop choreography. Of course, it probably helps that their costumes look so comfy. (Think 1st-century disciple mixed with 21st-century ‘wellness retreat’, or perhaps ‘prison inmate’ depending on perspective – you’re a modern production after all.)
Anyone who hasn’t seen you, or specifically listened to your soundtrack, would be surprised at how many of your songs are familiar. You’re that much of a cultural phenomenon. However, hearing a song is one thing. You’re one of those musicals that need to be heard, seen, and felt. Like being immersed into a mind-blowing and bizarre music video. One with slick effects, spotlights and smoke haze, and music that jiggles your insides. One with the band stationed on raised platforms, a stage in the shape of a giant lit-up cross, and a totally magnetic frontman. Rockstar.
Yes, Jesus Christ Superstar, you broke new ground as a rock opera when you first opened in 1971. And you’re still trailblazing wherever you go. There’s a reason you’re on everyone’s musical theatre bucket list.
With love,
Showing at the Capitol Theatre Sydney until 26 January 2025. Produced by John Frost & David Ian for Crossroads Live and Work Light Productions. Photos by Jeff Busby.
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