Review: JESUS CHRIST SUPERSTAR at London Palladium

Down the decades, Andrew Lloyd-Webber and Tim Rice have form when it comes to casting male singers who are considered hot properties because of their established, loyal and avid fanbases — one has only to think of a brooding David Essex as revolutionary Che in “Evita” and Jason Donovan as the Technicolor Dreamcoat-twirling “Joseph…” among others. Here, Ryder’s Jesus seems a markedly less confident charisma-merchant and more a slightly spaced-out hippy who has grown weary of his tiresome and troublesome flock, notably Judas (Tyrone Huntley) who frequently presents grounds for bromance divorce and finally betrays his friend with a kiss at the garden of Gethsemane for 30 pieces of silver. Here, Iscariot dips his hands into an illuminated trunk, covering them in dripping silver paint which indelibly marks him as a traitor for the remainder of the show.

The extensive use of hand-held mics feels a tad incongruous, yet every effort has been made to stylistically incorporate their use with aplomb in designer Tom Scutt’s set and costume designs. In particular the frequent entrances of the Pharisee whose biblical staffs have microphones at one end and individual cipher insignia at the other, which act as bases when flipped for the musical numbers. In these moments both Matty J and Bob Harms deliver the goods as Annas and Caiaphas respectively.

Also hitting the right notes in all the right places were Desmonda Cathabel as Mary Magdalene and Billy Nevers as Simon. The former creates a sound blend akin to Linda Ronstadt and the gorgeous Judith Durham of The Seekers. Meanwhile, Nevers exudes power and vibrancy as he urges Jesus to channel his popularity into a military uprising against their Roman oppressors, in Simon Zealotes/Poor Jerusalem which almost stopped the show and was the high point for me.

Director Tim Sheader has leaned heavily on choreographer Drew McOnie to fill the otherwise skeletal stage with interest. A giant laid-down crucifix serves as a ramp for the main playing area which is surrounded by scaffolding poles on which are mounted raised tiers for the near twenty-piece orchestra led by Tom Deering. The dancers are universally splendid with their sharply executed Arts Ed, street dance stylings, but especial call-out to Charley Warburton, Owen Lloyd, Milo McCarthy, Daniel Bowskill and Sebastian Goffin, who each added extra zing. And Look out for the deliciously pious diorama which is triggered by guitar-playing Phil King as Peter and sees twelve cast members join Ryder as Jesus’s apostles, coming together to emulate DaVinci’s The Last Supper.

In all, a terrific effort, albeit once again over amplified. Bugbears for me, included too many moments when the delayed musical pick-ups are deliberately contrived to cue the audience into applauding rather than reactions being rapturously organic. But hey, this was always meant to be a piece of religious storytelling designed to convey the power of personality and popularity, so the show will undoubtedly sell-out for its entire run.

Having spent 1998-9 touring in The Pirates of Penzance with the first ever Jesus (Paul Nicholas, who played the part in 1972) I found myself wondering what the now 81 year old would make of this new iteration and the show’s leading man. I hope someone asks him.

JESUS CHRIST SUPERSTAR runs 2 hours with interval and continues at The London Palladium until 5th September. Thereafter, it is scheduled to move to Theatre Royal Drury Lane from 16th October to 9th January 2027.

Jesus Christ Superstar Tickets