Sometimes there are stage productions that surprise you. You have this feeling that you aren’t going to like it, but then you leave the theatre, your mind completely changed. Even if you still don’t fully understand the story. This is exactly what happened to me after experiencing the 50th Anniversary Tour of Jesus Christ Superstar.
Produced by John Frost and David Ian for Crossroads Live and Work Light Productions, with lyrics by Tim Rice and music by Andrew Lloyd Webber, Jesus Christ Superstar is set in the days leading up to the crucifixion of Jesus (portrayed by Michael Paynter), told through the perspective of Judas (played by Javon King).
Judas fears that the growth of Jesus’ popularity amongst the people will be seen as a threat by the Roman Empire, resulting in the people being harshly suppressed. The High Priests of Israel fear the same and exclaim that Jesus must be executed to prevent a larger uprising. Spoiler alert: Judas betrays Jesus, and after selling him out, Jesus is eventually crucified.
Being a sung-through musical, it can be hard to follow the narrative, and I must admit that I was lost through most of the first act. During intermission, I had to look up what was happening to understand. However, I feel this disconnect was more a technical issue than the source material.
The levels were set a little too loud and the vocals from the stellar cast were peaking just a little too high, resulting in the lyrics being hard to understand and hear clearly. Giving the illusion of poor diction but was more the result of poor mixing. Thankfully, in the second act, this appeared to have been fixed, and the vocals were clearer, resulting in the narrative being much easier to understand. Thankfully, this is the extent of my criticisms, because everything else about this show is fantastic.
With direction from Timothy Sheader and choreography from Drew McOnie, the cast of Jesus Christ Superstar are a force to be reckoned with. Not one fault could be seen throughout the entirety of their collective performances. From the leads to the ensemble, everyone has their own chances to showcase their immense talent.
McOnie’s choreography is unlike anything I have ever seen before. It is full on and doesn’t slow down. The movements are very tribal and at times, seem as if the group following Jesus are possessed by a divine force. How this ensemble are able to keep up the energy for almost two hours is beyond me! Their collective vocal performance is just as good.
Accompanying the incredible choreography is the simple, grungy and dystopian production design by Tom Scutt with lighting by Lee Curran and sound by Nick Lidster. The stage doesn’t change throughout the show, but it doesn’t have to. The lighting feels like we’re at a rock concert, with the production showcasing the live band in full view, highlighting their incredible musicianship. I mean, this is a rock musical after all, so why would you want to hide the lead guitarist in an orchestra pit? The costume design is simplistic with a monotonal colour palette for the ensemble, highlighting their mob nature. Jesus in shining white, ensuring he stands out, with Judas dressed opposingly in dark shades. And there are microphones everywhere!
The hand microphone is almost a secondary, hidden character. From the High Priest’s staffs rotating around to reveal an epic mic-stand to the microphones of Jesus and Judas seemingly having divine powers. Rather than trying to hide the need for a hand mic, the production leans into it, making it part of the show. An interesting and effective choice.
Jesus Christ Superstar quite literally has some superstar talent in the ranks. From the ensemble to the leading roles, every single one of them knocks it out of the park.
John O’Hara and Elliot Baker as High Priests Annas and Caiaphas respectively make an impression the moment they enter the stage. Standing tall above the rest, Baker commands attention with his deep decerning voice whilst O’Hara compliments the numbers with a higher tone. Accompanied by Ethan Jones and Henry Rollo, also as Priests, the four of them work extremely well together as these formidable and powerful figures.
Graeme Isaako shines as Simon the Zealot. As one of Jesus’ Apostles, Isaako brings a leadership role to the mob following Jesus. Bringing them together to rise up against the Romans, inspiring them with a brilliant Gospel number showcasing Isaako’s natural finesse and incredibly wide vocal range.
Another of Jesus’ Apostles is Tana Laga’aia as Peter. A somewhat selfish character, looking after himself more than others and Laga’aia pulls this off well. Also, Laga’aia does more than just sing on stage, he also plays the acoustic guitar, leading to some wonderful moments. Just hold out for Laga’aia’s duet with Mahalia Barnes as Mary. Their harmonisation during ‘Could We Start Again Please’ is like a dose of warm honey for the soul. It was so good.
Speaking of Mahalia Barnes, it is hard to believe that this production is Barnes’ debut on the theatrical stage. Though it is of no surprise that Barnes absolutely aces her performance of Mary, Jesus’ lover. Her acting is strong and believable, exuding true emotion as she fights with Jesus to calm him and save him from what is to come. It is also no surprise that her vocal performance is second to none. Her solo ‘I Don’t Know How to Love Him’ captivates the room with her powerful and emotional performance.
Jesus Christ Superstar isn’t all doom and gloom though, there is some much-needed comedy relief from none other than Reuben Kaye. Having been a fan of Kaye’s comedy style for a long time, I was excited to see what he would do with the role of King Herod. Both vocally and visually stunning, Kaye makes the role his own. He’s not afraid to make the role somewhat self-aware, poking fun at his fellow cast members ability to sing. Although he is only on stage for one scene as Herod, Reuben Kaye leaves a lasting impression.
Peter Murphy was another pleasant surprise as Judean Governor, Pontius Pilate. Murphy plays a commanding role as Pilate, one that is integral to the inevitable crucifixion of Jesus. Murphy’s presence demanded your full attention, storming onto the Melbourne stage like a rock god, belting out some incredible numbers, including ‘Pilate’s Dream’. Murphy thoroughly impressed and hopefully I’ll get the chance to see him on stage in again soon.
Now, if the incredible ensemble cast are not enough to convince you, then the two leads in Javon King and Michael Paynter sure as hell will!
Javon King as the antagonist Judas emits an undeniable power on stage with his insane soulful vocals. You can see Judas’ struggle between wanting to be loyal to Jesus but also perform his duty to the people. King’s solo, ‘Heaven on Their Minds’, opens the show with a bang! Instantly setting the rock theme of the entire production. And whilst his acting is fantastic, it is in his vocal strengths where King truly shines. His range is incredible, seemingly hitting every note with ease. Judas is a mixed character; he is strong and weak at the same time and Javon King slays this role.
Of course, this rock opera wouldn’t be complete without its titular character, Jesus Christ, performed by Michael Paynter. Paynter is no stranger to music, having been in the industry for well over a decade. Even though his time in the spotlight has mostly been in live music, Paynter is a natural on the theatrical stage. He has a physical presence that is a perfect representation of the character, one of importance and grandeur. Paynter’s acting skills are great, but where he kills it the most is with his mutant lungs. Paynter’s vocal range and precision is stunning. My god! The skill and talent displayed during his performance of ‘Gethsemane (I Only Want To Say)’ alone, where he wielded a guitar while commanding the room, piercing the air with his flawless and powerful voice, had Melbourne patrons collectively stunned and left me with my jaw hanging open in awe.
Jesus Christ, what a bloody superstar (pun intended)! Paynter holds a note longer than I can hold my breath and does not waiver one bit. His tone is divine and is reminiscent of the legendary John Farnham, who famously originated the role in Australia in the 90s. In fact, many patrons around me during intermission were heard praising how good Paynter is, how much he remined them of Farnham, and I agree. And yet, Paynter has still fiercely made the iconic role his own. How strongly he hits those notes and holds them, night after night, I will never know!
Jesus Christ Superstar’s 2025 Australian production is a theatrical surprise. I cannot stop thinking about how impressively talented this cast is in this solid 2025 Melbourne production. Every single one of them give it their all and leave nothing behind. With a show that is over 50 years old in Australia, this new production does not feel dated. It’s modern, fresh, revived, epic, and I am thankful to have had the chance to catch it in Melbourne.
Whether you’ve seen Jesus Christ Superstar before, or you’re a newcomer like me, Jesus Christ Superstar is an unmissable phenomenon. Put any reservations you may have aside and go see it. I am so glad that I did!
Proudly presented by John Frost and David Ian for Crossroads Live and Work Light Productions, Jesus Christ Superstar: 50th Anniversary Tour, is now performing at Melbourne’s Princess Theatre through until the 22nd of June 2025. The production then heads to Brisbane in July for a limited run.
For more information and ticketing, visit:
https://jesuschristsuperstarmusical.com.au
Photography by Grant Alexander.
