From the first guitar note of the instantly recognisable overture to the frenzied entrance of the ensemble charging in from behind the audience, the energy is electric.
This brand-new Australian production of ‘Jesus Christ Superstar’ set the tone for an unapologetic, grungy rock concert that retells the rise and fall of Jesus through some of the most powerhouse vocals the country has heard since – well, perhaps biblical times.
Love it or hate it, Andrew Lloyd Webber’s ‘Superstar’ has always been a divisive piece of theatre. Its controversial and arguably blasphemous approach to the last days of Jesus sparked outrage and bans in its early days, cementing its place as one of Broadway’s most provocative musicals of its time. This production doesn’t shy away from that legacy. If anything, it doubles down on the grit and spectacle, breathing new life into a show that thrives on chaos and emotion.
Opening with powerhouse vocals, Javon King sets the tone for what can only be described as 90 minutes of heavenly vocals. The perfect mix of classical, rock, and soul, you’d think King’s vocals could be unmatched. True to the story we know, Judas literally ends the first act dripping in silver, commanding the audience’s attention and making us lust for the sinner.
Then JC steps up. Michael Paynter’s Jesus delivers such a stunning vocal performance. ‘Gethsemane’ earned him not one but two mid-song standing ovations. Paynter’s ease and raw emotional delivery make you wonder if he really is the Son Of God.
Image © Jeff Busby
Reuben Kaye’s Herod adds to the camp debauchery, his entrance in gold and glitter perfectly stealing the show as he condemns Jesus. Mahalia Barnes, as Mary Magdalene, gives a vocal performance that is second to none. Torn between her love for Jesus and the moral complexities of their relationship, Barnes toes the line of lover and outcast with just the right amount of tenderness and strength. Her portrayal of Mary feels both ‘wrong’ and ‘right’, in the best way possible.
The ensemble is a force of its own, moving seamlessly from loyal followers to a raging mob. Their chaotic energy often demands attention, sometimes even over the principal cast. The mob leader Darcey Eagle holds me captive every time they’re on stage, and their performance adds weight and complexity to many scenes.
Not all choices landed perfectly, however. Judas’ guilt and ultimate suicide are staged with impact, lending weight to his internal struggle, but other significant moments veer too far into camp. The glitter-whipping of Jesus, while visually striking, dilutes the gravity of the scene. The set, stripped back and grungy, feels rich and atmospheric, though it sometimes leans into clutter. The size of the ensemble and the constant chaos occasionally drowns out Jesus and potentially some key moments, making the narrative harder to follow in places.
Still, these are minor critiques in an otherwise stellar production. This ‘Jesus Christ Superstar’ is bold and compelling – a great take on a timeless rock opera. If my childhood religious education had been anything like this, I’d probably still be on my knees daily – for the vocal talent alone. Alas, it wasn’t, and I’ll happily remain a sinner, especially with Javon King’s Judas leading the way.
Words: Casey Elder
