Jesus Christ Superstar – a review
Jesus Christ Superstar – a stage set for controversy
The air hummed with electricity as the first sharp notes of an electric guitar echoed through the darkened theatre. The atmosphere was charged, the audience leaning forward as if anticipating something monumental, less a holy sanctuary and more a space where weighty questions and emotions lingered. This wasn’t 33 AD, not really, but the weight of it pressed down, the kind of heaviness that made you wonder if this was how Christ himself might have felt.
Mahalia Barnes was a show stealer
Jesus Christ Superstar is legendary, not just for its audacious retelling of the Passion but for the performers who’ve etched themselves into its history since its Australian debut in 1972. Names like Jon English, Stevie Wright of The Easybeats, Marcia Hines, John Farnham, even John Paul Young have graced the stage. Tonight, it was Mahalia Barnes, stepping into the role of Mary Magdalene, a legacy role carried before her by icons like Marcia Hines and Kate Ceberano. And what a show-stealer she was. Her voice? A storm wrapped in velvet. Her father, Jimmy Barnes, clapped furiously from the audience, his pride almost as palpable as her soaring final notes.
But for all its spectacle, the musical took liberties—bold, jarring ones. Let’s start with the ending: no resurrection. None. Jesus doesn’t rise. Isn’t that the very heart of the story? The why behind the “Superstar”? Here, the portrayal leans toward Jesus as a deeply human figure, focusing on his vulnerability in the face of betrayal and trial. Pontius Pilate exerts authority, and King Herod’s mockery underscores the mock trial Jesus endured. His anger in the temple scene is depicted as visceral, though perhaps lacking the clear purpose and divine authority described in scripture.
The suggestion of a deeper relationship between Jesus and Mary Magdalene is a creative choice made by the writers, not reflective of the biblical narrative, where Mary’s role is one of devotion and discipleship rather than romance. And Judas? Here, he is rendered with a kind of fiery pragmatism, his betrayal rooted in personal conviction rather than the spiritual fall described in the Bible.
A feast for the senses
And yet, it was captivating. Mahalia’s “I Don’t Know How to Love Him” left the air trembling. Michael Paynter, a session musician turned revelation, delivered a Jesus that was both tender and towering. Javon King, as Judas, commanded the stage with every step, a man caught in a moral tug-of-war he could never win. Reuben Kaye’s portrayal of King Herod is flamboyant and theatrical, adding a layer of satirical commentary to the character’s historical role. While it adds humour, the interpretation might feel incongruous with the gravity of the story for some viewers. Peter Murphy’s Pilate, meanwhile, brought a palpable sense of inner conflict as he grappled with the rising tide of mania and bloodlust surrounding Christ’s trial. Elliot Baker’s Caiaphas was suitably sinister, delivering his lines with the weight of authority and menace.
Laura Tipoki’s surging music
The production itself was a feast for the senses. Tom Scutt’s industrial stage, a labyrinth of steel and shadow, transformed into a dozen settings, from the intimacy of the Last Supper to the stark finality of the cross. The music surged and roared, the nine-piece band under Laura Tipoki’s baton bringing Andrew Lloyd Webber’s iconic score to fresh, visceral life. From the first screeching riff to the final, harrowing note, the audience was held captive.
So, does it entertain? Absolutely. It dazzles, it shocks, it enthrals. But does it stay true to the story? Not entirely. As a theatrical production, it undeniably entertains with its dramatic flair, powerful performances, and iconic music. However, its deviations from the biblical narrative might leave some viewers yearning for a portrayal more faithful to the Gospel’s profound truths. And therein lies the tension. For some, the divergence is a betrayal as profound as Judas’s kiss. For others, it’s precisely what makes Jesus Christ Superstar a masterpiece—a retelling, not a replica. Either way, it’s unforgettable. Just ask the 1970s audience member who once threw a Molotov cocktail at the actor playing Jesus. Lucky for us all, the wick fell out.
Playing until 26 January 2025 at the Capitol Theatre. Tickets here
