On a bare stage covered in thick haze and towering scaffolding, Jesus Christ is crucified as his followers look on down below. But not before 2 hours of charged spectacle following the final days of his life, as the latest incarnation of Tim Rice and Andrew Lloyd Webber’s Jesus Christ Superstar arrives at the Palladium for a summer season.
Inspired by the 2016 Regent’s Park Open Air Theatre version, Tim Sheader’s highly stylised production spells gig in all caps: handheld microphones, audience blinders and a huge, translucent metal frame in the shape of a crucifix, which, when not raised midair during the climax, is horizontally laid as the dominating piece of inclined staging. The minimalistic set (by Tom Scutt) sets the scene for a sung-through rock opera that feels raw and uncompressed, from the moment the company sprints across the aisles in the opening bars of the overture.
Seeing the show without any context whatsoever might not be a great idea: as Jesus is now a rockstar-adjacent figure, it assumes a certain degree of knowledge of the Passion; a first-time viewer foreign to the source material might need a moment to bind the biblical story with the more modern sound. But once that buys in, the piece is somewhere between loud concert and psychological drama, delving into the psyche of both the protagonist, his followers, opposers and eventually traitors.
The narrative anchor here is Judas Iscariot, one of the Twelve Apostles, who struggles between morality and loyalty, eventually driving him to betray Jesus in the Garden of Gethsemane in exchange for thirty pieces of silver, a decision that causes deep remorse in retrospect leading up to his death. Returning to the role after the earlier iteration, Tyrone Huntley stunningly captures the character’s complexities with a bright, reassuring tenor range – roof-raising on all fronts.
One will at some point lose count of the further gripping vocal moments from the exceptional company, to name a few: Phil King’s edgy Peter; the baritenor and bass-baritone ranges (equally sinister) covered by David Thaxton (Pontius Pilate, as resonant as his Max von Mayerling) and Bob Harms (Caiaphas, Hades-like, shivers). A joyously camp comic interlude from Jesse Tyler Ferguson (icon) is warmly welcomed – first in an exciting lineup of King Herods who share the role in rotating weeks; this casting model will positively attract waves of fans, though you can’t help but hope there is more than one number to properly appreciate each Herod, and for the part to feel less like a gimmicky cameo.
Having already charmed London audiences as a similarly mythical Eurydice in Hadestown, Desmonda Cathabel marks another defining star turn with an endearing presence as Mary Magdalene, delivering mellow, soothing renditions of I Don’t Know How to Love Him and Could We Start Again, Please? (a real melodic treat) to an audience leaning in intently.
The headline buzz is singer-songwriter Sam Ryder (who shot to fame from Eurovision 2022 onwards) who makes his West End debut in the titular role, navigating the character’s quietly intense demands with crisp breath control and an unmistakably signature falsetto. Despite having muddled lines (perhaps due to the sound mix lacking clarity, or being overpowered by the orchestra) and therefore limited acting on display, his Jesus feels gentle and vocally nuanced, culminating in the climactic Gethsemane met with a mid-show standing ovation.
What Sheader’s minimalist staging creates is plenty of room for both design and choreographic brilliance: Lee Curran’s pulsating, concert-style lighting forms part of the set, a standing audience situated under three blocks of scaffolding, practically becoming observers of the cult-like action; Scutt plays with symbolism, too, flight cases doubling as silver chests with healthy amounts of glitter reflecting off Judas’ hands (Lady Macbeth style) as he is overcome with guilt (red mic cables – the same kind he is strangled with – drops from the ceiling as his death occurs).
But perhaps most eye-catching is Drew McOnie’s choreography, seeing the ensemble move as one attention-commanding congregation. They carry both physical and psychological pressure to exert on Jesus and company, in doing so filling the space with vivacious bursts of energy. Action isn’t just limited to the ensemble either – disciples hang off the scaffolding on either side of the proscenium arch, and a life-sized recreation of The Last Supper opens the second act to substantial laughter.
Even with the occasional Love Never Dies style jolt between classic musical theatre and rock, Lloyd Webber’s genre-transgressing score (originally starting life as a concept album) has many developed motifs woven in (choral harmonies, synth organ riffs and everything in between), played live by a 19-piece orchestra led by Tom Deering. Adam Fisher creates an electrifying wall of sound, though Tim Rice’s words are sometimes lost amidst the bass-heavy loudness.
Expecting a rock meets musical theatre gig out of the hot ticket of the summer? This production delivers on the hype – Palladium scale. But for those unfamiliar with the origin story or searching for deeper dramatic impact beyond gospel-worthy vocals and flashy visuals – to match the rainbow high Evita summer created, there might be a little more soul-searching to do.
Jesus Christ Superstar plays at The London Palladium until 5 September, then transfers to Theatre Royal Drury Lane from 16 October. Book with London Theatre Direct or find more information on the production website.
🎟️ A ticket was kindly gifted with expectation of an honest, unbiased review. Views expressed are of the writer’s and do not represent those of the promoters – read our editorial policy here.
The London Palladium run now has limited availability across all performances – On Stage Standing tickets were previously released at £25. The Theatre Royal Drury Lane has good availability at all price points from £27.50. Rush and Lottery policies have not been announced.
♾️ The production features extensive use of flashing lights occasionally directed at the audience, haze, continuous loud music, thrown glitter, theatrical blood and the cast using both centre stalls aisles throughout.
A detailed trigger sheet with timestamped content and sensory points are available on request from the venue.