Jesus Christ Superstar | Crossroads Live & Work Light Productions

Images: Jeff Busby

Jesus Christ Superstar, the legendary Tim Rice and Andrew Lloyd Webber musical, is a sung through rock opera that first came to the stage over 50 years ago. The production currently touring Australia is a version of the award-winning show that first opened at London’s Regent Park Open Air Theatre, and has received many accolades and awards during UK and USA runs.

Directed by Timothy Sheader, this latest staging of Jesus Christ Superstar is more rock concert than musical. Most of the songs are presented as major set-pieces, with an emphasis on spectacle that is suited to QPAC’s 2,000-seat Lyric Theatre—and where the set, lighting and sound design would work equally well in a major stadium (Lee Curran, Lighting Designer, and Nick Lidster, Sound Designer). The musicians are excellent, with a fantastic lead guitar and strong brass section (Tom Deering, Musical Supervisor). The leading roles are played by stars who are well-chosen for their powerful rock and blues vocals, and who can each dominate a large stage. Michael Paynter (Jesus) and Javon King (Judas) have strong rock tenor voices, and Mahalia Barnes’ soul and blues heritage is great for Mary’s alto range. Reuben Kaye is also more than able to camp up the comedic opportunities provided by the role of Herod, and rocks the fabulous costume design.

Images: Jeff Busby

The roles of the Priests and other key antagonists are equally well-cast, with great choreographed moves and fabulous vocals. Elliot Baker has the perfect voice and stage presence for the role of Caiaphas, and is ably supported by John O’Hara as fellow High Priest Annas. Peter Murphy is a fantastic choice as Pilate; there is a real sense of Pilate’s inner turmoil and frustration at having to make such a difficult decision, particularly in the ‘Trial Before Pilate’ number.

Having seen Jesus Christ Superstar on many occasions, including a memorable Kabuki-style version in London, I know that the show has a strong narrative and provides many opportunities for interactions between the key characters—much of which I felt to be missing in this version. For me, this production would benefit from freeing the actors from performing the major numbers as if they were in concert. For example, having Paynter downstage, playing a guitar, when starting to sing ‘Gethsemane (I Only Want to Say)’ was more than a little odd—particularly with the rather awkward manipulation of the guitar as the song progresses.

Drew McOnie’s award-winning choreography is both interesting and distracting. Referencing a range of different styles of religious dance, the high-energy, ritualistic and repetitive moves of the ensemble are an effective way in which to convey the increasing frenzy of the followers. However, I found the manic and more extreme dance moves of the red-headed ‘Mob Leader’ to be a major distraction. Great work by Darcey Eagle, but I am not convinced that this aspect of the choreography adds to the piece.

The dance moves of the Priests, wielding their ‘microphone stand-styled’ staffs when standing on the inverted cross walkway, convey their love of power and control. This led me to ponder the extent to which this production emphasises the ‘superstar’ aspects of the show. Representing Judas’ hanging with the swinging microphone cord, the lashing Jesus with glitter, and the final fabrication of the cross from a loudspeaker and stands, all leads me to wonder if the director’s aim is to signify the ways in which the audience-mob can crucify its rock heroes?

Images: Jeff Busby

There are several striking visual moments in this show. I love Tom Scutt’s set design, which offers so many spaces for the work of the performers and onstage musicians. The dominant inverted cross is a platform for the Priests, is a great stage for Herod and for Pilate, and is so memorably transformed into the visually impressive picture of ‘The Last Supper.’ Although much of the action seems to be downstage right, the scaffolding provides height and extends the available spaces for the performers and musicians—and the treetop is a clever reference back to the original Regent’s Park production. Most of the costume budget may have been allocated to Herod’s show-stopping golden cloak, but the various roles of the ensemble are cleverly conveyed through various small costume changes. I love the wonderful roman masks, placed at the foot of Pilate and also worn by the guards. The payment of the thirty pieces of silver is strikingly represented by Judas’ plunging his hands into the treasure chest before looking in astonishment at the metal dripping from his hands. This is an extraordinary metaphor, and an impressive moment to pause the action for the Interval—making it even more surprising that Pilate does not literally ‘wash my hands of your demolition’ in the Second Act.

Images: Jeff Busby

There is much to enjoy in this 2025 Superstar rock concert production: Javon King is a talented actor and vocalist, the lead vocals are all strong, it’s great to hear this score played by talented musicians, and the staging is a visual delight. But Jesus Christ Superstar can be so much more than just a rock concert. The musical is a dramatic imagining of the final weeks of the lives of Jesus Christ and of Judas—with an emphasis on the humanity, and possible motivations behind the actions, of key people in the familiar bible account. The songs speak of the frustrations, conflicts, fears and desires of each protagonist as the story moves toward its inevitable conclusion. I would love to have seen more of the tenderness of the relationship between Mary and Jesus, to watch interactions between the characters rather than their being presented to the audience, and to have a better sense of the increasing frustrations felt by Judas.

It was a good evening out, but I came away wanting to re-watch the 1973 film to reassure myself that the story of Jesus Christ Superstar has emotional highs and lows. From conversations overheard as I left the auditorium, several people struggled to hear the words of the songs. I suggest that if you are not familiar with the story, and are planning to go along and find out just ‘What’s the Buzz,’ you may want to read the synopsis before the show. Or just sit back and enjoy the concert experience.

‘Jesus Christ Superstar’ plays at the Lyric Theatre, QPAC, Southbank from 29 June-10 August 2025. 110 minutes, including interval. The reviewer attended the Thursday 3rd July 2025 opening night performance (7pm).