Musical Theatre / Jesus Christ Superstar. At Capitol Theatre, Sydney, until January 26. Reviewed by BILL STEPHENS.

It was hard to escape the feeling of deja vu while sitting in the same theatre which 52 years previously had housed the Australian premiere of Jesus Christ Superstar in a production directed by Jim Sharman and hailed by lyricist Tim Rice as “better than Broadway’s”. 

The Capitol Theatre had been freshly painted in Taubman’s Superstar Brown (formerly called mission brown) especially for the occasion, but still smelt of decay and in danger of demolition. 

Relative unknowns destined to become Australian theatre legends made up the cast led by Jon English, Trevor White, Robin Ramsay and Michele Fawdon with others like Stevie Wright and Rory O’Donoghue listed among the ensemble.

Now all these years later, having experienced numerous productions of this musical since, a visceral response to the opening chords of the lone guitarist spotlit high above the stage, heralded a sense that this production was going to be something special.

Originally produced for the Regent’s Park Open Air Theatre in 2016 as a re-imagining of the musical, this production directed by Timothy Sheader and choreographed by Drew McOnie won Olivier and Evening Standard Awards for Best Musical Revival. 

Sheader and McOnie’s direction and choreography has been stunningly reproduced for this Australian tour by director Shaun Rennie and choreographer Bree Tipoki with a cast with artists relatively unknown as theatre performers but possessing impressive rock concert credentials, with Laura Tipoki leading a brilliant band perched high above the action. 

In what will surely become his break-out role, Jesus is played by Michael Paynter, best known as a session singer and guitarist. He performs with the Australian band Icehouse and is one half of the 2023 Aria Award winning production team MSquared. 

As Jesus in this production he reveals himself as a charismatic actor with a remarkable singing voice. His phenomenal performance on opening night when his rendition of Gethsemane literally stopped the show earning not one but two standing ovations, will undoubtedly ensure him of a future in musical theatre, should he choose. 

Similarly, Javon King who plays Judas is already an experienced Broadway performer and an Australian Green Room Award-winning actor. He first came to national attention with his light-hearted singing/dancing role as Seaweed J. Stubbs in the 2024 national tour of the musical Hairspray. But that role contained little clue to the powerful voice and commanding presence he is able to bring to his riveting performance as the tortured Judas in this production. 

Perhaps best known among the principal cast is Mahalia Barnes. Well known to Australian audiences for her television and concert performances, it is a surprise to learn that the role of Mary Magdalene is her first theatre role. In this production Mary Magdalene is a constant calming presence and Barnes’ renditions of Everything’s Alright and I Don’t Know How to Love him are standouts for the beauty of her phrasings and the clarity of her lyrics.

Peter Murphy is a dignified presence as Pilate and his rendition of Pilate’s Dream provides one of many stand-out moments with another being Tana Laga’aia’s superb rendition of Peter’s Denial.

Elliot Baker and John O’Hara bring contrasting presence and vocal colour to their roles as the strikingly costumed priests Calaphas and Annas.

Cabaret artist Reuben Kaye as Herod provides exactly the right amount of razzle dazzle and visual spectacle with his turn as Herod in a production where the overall costume concept is rock grunge. Kaye provided his own review of his performance with an audible “nailed it” as he left the stage amid cheers at the end of his spectacular rendition of Pilate and Christ. 

Designer Tom Scutt’s decision to go rock grunge as his overall concept for his set and costume designs is by no means boring. His flaying costumes are perfect for the arresting movement demanded by Drew McOnie for his sweeping choreography which is brilliantly executed by an extraordinary team of dancers led by crimson-haired Darcey Eagle as a mysterious character, Mob Leader. McOnie’s choreography also provided an unnerving reminder of how easily an adoring crowd can turn into a baying mob. 

Scutt’s rusting metal crosses and scaffolding, which form the basis of his setting, provide a perfect surface for Lee Curran’s extraordinary lighting as well as a table for a re-enactment of Da Vinci’s iconic Last Supper painting.

The imaginative use of microphone stands and leads harken back to the days of microphone cord spaghetti, but also provide the means for Judas to hang himself and the cross on which Jesus is crucified.

Jesus Christ Superstar has always provided a tantalising vehicle for imaginative directors and creatives. So while ever there are creatives with the intellect and skills of Sheader, Scutt and McOnie, it is not too far-fetched to imagine that there will be audiences filling this very theatre in another 50 years marvelling at the relevance of Lloyd Webber and Rice’s remarkable re-imagining of the last days in the life of that person called Jesus Christ.