Jesus Christ Superstar at the Capitol Theatre, Sydney, dives into the final days of Jesus Christ with a mix of powerful music and raw narrative intensity. Andrew Lloyd Webber’s music, true to form, hits the right notes with memorable tunes, and Tim Rice’s lyrics add sharp, evocative storytelling. Originally directed by Timothy Sheader for London’s Regents Park Open Air Theatre, the show was envisioned for an outside setting, and while Shaun Rennie’s adaptation for an indoor stage manages to retain much of the visual allure, the absence of certain pyrotechnic effects does leave the show missing some of its original “kick”. As a result, the characters sometimes seemed to wander aimlessly, lacking the punch that the outdoor version might have brought. With a cast predominantly composed of musicians rather than seasoned theatre performers, the story’s emotional weight was somewhat dulled, missing the depth that could have really brought the narrative alive. However, Laura Tipoki’s musical direction was an evident strength, ensuring the songs stayed powerful and sonically engaging.
The set design by Tom Scutt was effective, but the impact of his work might have been stronger under an open sky, as the indoor space didn’t quite complement his vision. Additionally, the continuous use of sound equipment leaned into a concert vibe, almost blending the lines between staged concert and traditional musical—a nod, perhaps, to the concept album origins of Jesus Christ Superstar. Drew McOnie’s choreography, though energetic, often felt mismatched with the score and story, coming across more like a recital than meaningful storytelling. Rather than enhancing the production, the contemporary dance ensemble numbers were often distracting. I even found myself closing my eyes at times to appreciate the voices without the visuals interfering.
There’s always an element of risk when producers bring Jesus Christ Superstar to Australia. The high bar was set back in 1992 with John Farnham, Jon Stevens, and Kate Ceberano’s iconic recording. The ensemble here had a strong vocal presence and portrayed an angry mob convincingly, though, as mentioned, the choreography felt more like an obstacle than an aid.
In the minor roles, Elliott Baker as Caiaphas had a demanding stage presence, though he sometimes struggled with the lower register. John O’Hara, playing Annas, delivered strong rock-style belts that complemented Baker’s performance. Peter Murphy, as Pilate, brought an experienced musical theatre touch, and his nuanced portrayal won over the audience during Trial Before Pilate. Reuben Kaye as Herod was an audience favourite, infusing cabaret-style humour that offered a refreshing moment of levity amid the darkness. His quick wit and powerful vocals made for a memorable and entertaining scene.
Mahalia Barnes, as Mary, delivered a pleasant vocal performance yet lacked the emotional range needed to fully capture Mary’s complexities. Her rendition of I Don’t Know How to Love Him didn’t quite reach the poignant depths expected, leaving room to wonder if someone else might have connected better with the role’s intensity.
As for the leads, Jesus Christ Superstar hinges on two powerhouse roles: Judas and Jesus. Javon King as Judas was thrilling, his commanding vocals in Heaven on Their Minds setting a high bar from the start. He portrayed Judas’s complexity well, his experience in theatre lending an authenticity to the character’s anguish. Michael Paynter as Jesus, however, was the show’s standout. His electrifying performance of Gethsemane earned two standing ovations, capturing Jesus’s vulnerability and strength in his final hours. Paynter’s soaring vocals and emotional depth brought Jesus to life, making the crucifixion scene agonising yet unforgettable.
Leaving the theatre, I couldn’t help but express to my companion that a cast recording would be incredible, isolating the remarkable vocals without the distraction of some of the stage elements. Nonetheless, this production rocks the theatre with vocal prowess and the timeless impact of Lloyd Webber’s score. Even if some aspects miss the mark, you’re still bound to be moved by the sheer vocal talent on display.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world trying new gin. Follow him on all the socials @talldancraig
Jesus Christ Superstar runs for 1hrs 50 minutes (with 20 min interval) and plays at the Capitol Theatre through 26 January 2024. Tickets are available through the Ticketmaster.
Disclosure: The Plus Ones were guests of IP Publicity.
Image credit: Jeff Busby
