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Jesus Christ Superstar starring Sam Ryder (London Palladium, West End) - ★★★ REVIEW
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Mickey Jo Theatre
I wake up. I only want to say actually, who am I kidding? There are so many things that I want to say. And why? Because Jesus Christ Superstar is back. This return engagement of a revival, first seen at Regent's Park Open Air Theatre, opened this evening at the London Palladium, where it has quickly become the hot ticket of the West End summer. Once it's finished at this historic venue, it's set to head to another with another limited run lined up almost immediately afterwards at Theatre Royal Drury Lane before it heads back out on tour the uk. And why, you may ask, is there such sudden, vast enthusiasm for a production that has already been seen multiple times at multiple different theaters? Well, that will be because of its central casting, with recording artist Sam Ryder playing the role of Jesus. But in his musical theater debut, was he a superstar or was the performance closer to a crucifixion? I've just got back from the show's opening night performance and I'm here as always, to tell you what's the buzz and indeed to tell you what's a happening. But just before I do, a quick introduction to me. Oh my God. Hey Xana Ho Xana. Welcome to my theatre themed YouTube channel. My name is Mickey Jo and I'm obsessed with all things theatre, I would say those are the last Jesus Christ Superstar punch that you're going to have to endure, but I'm not willing to promise that at this time. For those of you meeting me for the first time, I'm a theatre critic and a content creator here on social media and this evening I saw Timothy Sheida's production of Jesus Christ Superstar for the fourth time. I'm going to let you know what I think of this show, what I thought of the performances, some alumni of previous runs returning to the cast, as well as of course, Sam Ryder in the leading role. We're also going to talk a little bit about the history of Jesus Christ Superstar and this production. So if you have seen this current run at the London Palladium or indeed any previous run of Jesus Christ Superstar, I would also love to hear your thoughts in the comments down below. And if you enjoy listening to this review and would like to hear more of mine, then you can find them wherever you are, seeing my face or hearing my voice. To make that you don't miss any upcoming reviews, you can subscribe here on YouTube or follow me on podcast platforms. For now though, let's talk about Jesus Christ Superstar and the production, which, not unlike the Messiah himself, keeps unexpectedly coming back. So I feel we don't necessarily need for me to venture all the way back into the early history of Jesus Christ Superstar. But it feels pertinent to let you know that this was a genre redefining rock opera that in many ways shifted the trajectory of the popular musical. It was first written in the 1970s, having initially been developed as a concept album. For a time it was the longest running musical in the West End. It was initially met with controversy, but enduringly having been written by Sir Lord Andrew Lloyd Webber and Sir Tim Rice, it is now for the most part remembered for its anthemic, heart pumping score, including the well known hit Superstar Heaven on Their Minds, Gethsemane, I Don't Know how to Love him as well as the rest of the score, which I think is wildly underrated. Both the powerful, insurgent sort of prog rock melodies written by Lloyd Webber and the brilliantly politicized incisive lyrics created by Rice. Much of the genius of the show structurally is often attributed to him and the decision to liken Shakespeare's Othello have the final days of the life of Jesus Christ be shown from the perspective of the disciple who would betray him, Judas Iscariot. It also explores the possibility of romantic depth in Mary Magdalene's fascination with Jesus as well as the notion of a crowd of supporters who turned on him and became the very mob who sought his crucifixion. That being one of the things that made it controversial in the first place. Now, in the decades since Jesus Christ Superstar was first produced on stage, there have been countless revivals. There was a major Broadway return, plenty of regional productions, and in 2016, an award winning revival at Regent's Park Open Air Theatre in London, directed by its then artistic director, Timothy Sheeder. So successful, so celebrated was this production that it returned in the subsequent season the very next summer. Subsequently it transferred indoors to the Barbecue center in London, where I saw it for the very first time. It also went on to tour the uk, at which point I saw it again, as well as touring internationally toward the US and notably after the well recalled theatrical shutdown of 2020, when theaters were beginning to steadily reopen with socially distanced seating and, you know, a delicate set of possibilities. Regent's Park Open Air Theatre were among the first London venues to bring back musical performances. And it was their production of Jesus Christ Superstar that returned with the cast performing on the set of Evita. Now that's interesting because of how this production would then come back yet again, because last summer, and kudos to you if you managed to miss this, Evita was produced at the London Palladium starring Rachel Zegler. That was an evolution of the Regent's park revival from The Summer of 2019, directed by Jamie Lloyd, produced by Lloyd Webber Harrison Musicals. So successful was that particular Lloyd Webber and Tim Rice written star vehicle that they were eager to try and replicate that success, unsurprisingly for the subsequen summer run at the Palladium. And there was much conversation about which Lloyd Webber musical Jamie Lloyd ought to direct next after his award winning success with Sunset Boulevard. And then, you know, this record breaking financial success with Evita. All of these people turning up to hear Rachel Zegler singing from the balcony. There was some conversation about Jamie Lloyd directing Jesus Christ Superstar. However, due to an alleged and apparently now resolved personality clash, this didn't actually end up happening. And instead the decision was to remount some version of the Regent's park production directed by Timothy Sheeder, who had since gone on to become the artistic director of the Donmar Warehouse. Are you keeping up with all of this? Basically, yet again, Jesus Christ Superstar was going to follow in the footsteps of Evita and once more this production would return, which ultimately I think was probably a very good choice because given the aesthetics of Jamie Lloyd productions, that we tend to see these days, there's a very decent possibility it wouldn't have been a million miles from this production anyway. Turns out he isn't the only director using an array of handheld microphones and miscellaneous second act splatterings. And beyond them both being star vehicles written by the same people, there is an awful lot of overlap, interestingly enough, between Jesus Christ Superstar and Evita. They are each offering commentary on these iconic individuals and they are each making statements of them as sort of celebrities within their own times. And the commentary in each instance is being provided by some kind of a skeptical outside figure. And if we consider the wider context of this product, there is on the surface some genius to casting Sam Ryder. I mean, he sells an awful lot of tickets, evidently. But also, if we're telling this story about Jesus Christ as a superstar, that being the surface interpretation of this show, then casting a celebrated recording artist who's going to be a huge draw for the production, I mean, that works on a number of levels. What it doesn't necessarily engage with as substantially is the deeper meaning of Jesus Christ Superstar and this adversarial placement of Jesus and Judas. And I'm going to talk more about the creative approach to this production in depth. But if you've seen it previously, it is essentially the same. It's a little more pared back aesthetically. There have been changes to the set design. Much of what happens on that set remains the same, though, in terms of the storytelling. One major change, though, is that there are now three banks of. Of standing on stage, audience members who frame the action. And I was initially skeptical about this because whenever on stage seating is sold, I tend to think of it as a slightly duplicitous excuse for a production that has no idea what kind of a set design to put in place. And yet I do think it works well in this production because as I'll go on to tell you, the concept of this revival is very much that of a gig, a rock music gig, this gig, theatre aesthetic. And so you have banks of audience members looking like a mosh pit, looking like a crowd, shifting it away from a more traditional, traditional theatrical aesthetic. But also, so much of this story necessitates a crowd watching on the entire time and surrounding Jesus and cheering him or cheering for his downfall ultimately. And you may be curious to know that my fascination has got the better of me. And by the end of this month, I hopefully will have experienced this for myself. Stay tuned. I may come back with updates. For now, though, I think it is high time I tell you a little bit more about this production itself.
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Jameela Jamil
What if you laughed all through your commute? Or if you heard the funniest story while at the gym? Well, now you can. I'm Jameela Jamil and guests on my new podcast Wrong Turns share their most mortifying and hilarious desire stories. I'm talking people like Mae Martin, Bob the Drag Queen, Katherine Ryan, Jake Johnson, Margaret Cho, Simon Pegg, Penn Badgley, and so many more. So listen wherever you get your podcast. Wrong Turns Where Dignity Goes to Die
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Mickey Jo Theatre
So like I said, this is Jesus Christ Superstar, but make it gig theater. And I have seen enough of his musical revivals to know that Tim Sheeda loves a concept. He loves a concept. And when this revival was first staged with Jesus as a frustrated gigging musician and Judas as an angsty roadie, I feel like it lent even more into that Mary Magdalene as a folky singer songwriter. It has evolved somewhat in the costume design in the changes to the set, where now we are retaining the use of microphones and on stage instruments. Jesus performing Gethsemane at a microphone stand and accompanying himself on guitar. We are seeing musicianship throughout and there are some really compellingly ingenious use of microphone cables for a couple of really dramatic purposes, such as the restraining of Jesus, such as the way that Judas ultimately meets his death. That's not a spoiler, it's in the Bible. Nothing in the Bible is a spoiler. However, with regards to the rest of the production, it feels as though we've moved away from any sense of meaning within this gig musician aesthetic and it is thusly no longer a concept and instead simply vibes. One of the more overt references to this is when the priests led by Caiaphas have these rods with little crosses at the top that they turn upside down and turn into boy band esque microphones. But for the Most part, this combination of scaffolding in the set design and bohemian style clothing and a lot of lighting and a big old cross tends to look pretty much like every production of Jesus Christ Superstar we've seen for the last 30 years. So the more unique aspects of this direction have fallen slightly by the wayside in order that the thing might be more commercial. And yet some gorgeous visual work endures from director Tim Sheeder. There is the passing of a golden microphone picked up fatefully at the beginning. And there is perhaps some sense of the power that this represents, the power of speaking out, of using your voice to uplift and incite a crowd. The notion of who is left holding the microphone at the end, dare I say, who lives, who dies, who tells your story. One of the most striking visuals of this production comes at the very end of the first act. And we meet it again at the start of the second, when Judas opens a chest upon betraying Jesus and giving up his upcoming whereabouts to the priests, he puts his hands into it and removes them, newly painted with silver, this representative of the fact that he has chosen to accept this blood money in exchange for betraying Christ. There are also a lot of really striking stage pictures, many of them realized with the aid of Lee Curran's powerful and directional lighting design. At its very best, I think, during Gethsemane, when this gradual glow turns into more of a blazing sort of a spreading fire behind the band and at the back of the stage that peers through everything, there's a nice little moment towards the start of the second act during the song the Last Supper, in which the famous painting is recreated in tableau. Interestingly enough, subscribing to the Dan Brown way of thinking is outlined in the Da Vinci Code, with Mary Magdalene as one of the 12. I have to say that number specifically thereafter featured a lot of creative choices that didn't necessarily work for me. I think the eagerness of Christ's followers and their devotion wasn't particularly well communicated by this staging that had them, you know, doing the equivalent of playing Stuck in the Mud in Primary school, which, if you don't know, involves you either standing still or moving incredibly slowly. And the song is slow enough in its pacing and odd enough in its storytelling to begin with. You know, one minute they're all insisting on how much they care about Jesus and then two seconds later they're all going to sleep at the same time as he's complaining that no one's going to sit up and chat with him. Like an awkward sleepover. Listen, we've all been there. And that's before you even get me started on the captivating melody that is look All My Trials and Tribulations. The rest of the score, legit, thrilling. That's not their best work, though. It isn't the boldest decision made by this material, because the 39 lashes which Christ receives after he is arrested in the second act, inflicted on the instructions of Pilate, are realized in the score repetitively and in real time. We have to listen to. Until we get to 39 and we don't fast forward. It remains at that pace. It sort of feels like you've walked into a primary school arithmetic lesson and you're not allowed to leave. However, mercifully, this production makes it a little easier to get through because Christ, restrained at this point via the microphone cables that I told you about, is decorated with hurled glitter thrown at him very aggressively by different members of this energized ensemble who are leaping across his path and coming at him from either side as they are also doing a mass costume change. It's incredibly impressive, which brings us into a necessary conversation about Drew McHoney. Brilliant contemporary balletic choreography. Now, this is an interesting production because, like I said, Timothy Sheeder, the previous artistic director of Regent's Park Open Air Theatre, that role has since been taken over by Drew McKoney. And his most distinctive work in this show derives these repetitive, striking gestures, characterized with a quality of fervor and later desperation from ideas of worship, but also religious fanaticism. There is some familiarity with faith healing ceremonies in which people react in these striking ways and energy seems to move through the body that seems to influence much of what Drew McHoney is doing here and the way in which the energy of the choreography shifts, the way in which the same sort of movements are retained. But this ensemble turns from the crowd rallying enthusiastically, but also, you know, mightily behind Christ, ready for a fight, to one that becomes the very mob that has turned against him and which is insisting on his crucifixion. It's wild. I also think, and we're going to talk about the Herod number, because it is often something of a departure stylistically from the rest of the show. The kind of jazz doom that it finds. Combining this slightly tongue in cheek comic quality with the bleak horror of the reality of him as a dictator is both very well choreographed and incredibly well costumed. They're wearing this. These golden outfits with these sort of almost Elizabethan sort of plates around their neck. They sort of look like a ruff but it's a plate. As if to represent imminent beheading with the set and costume design for this production, I should say the work of Tom Scutt and throughout the creative team. A lot of interesting work has gone into this. Yet just like with last summer's revival of Evita, I find myself enduringly asking the question, to what extent are we really contending with the labor of storytelling? And how well positioned is an audience with less familiarity with the beats of this narrative, able to follow and enjoy it and be emotionally moved by it? And arguably, you know, it's. It's a very well known story. The basic premise of Jesus rising to prominence and then being crucified is fairly well known, even the nature of his betrayal. But just like with Evita, there are finer political points and machinations that are only really articulated in quickly passing song lyrics. Lyrics which offer very important realities alongside such lines as I'll say this for him, this Jesus is cool. Which was a line back on the original concept album that was subsequently changed. For those of you who are a fan, it's back. I also wonder if the concept itself may be something of a double edged sword. And to have these characters holding microphones and performing these songs, whether it doesn't sort of divorce it from diegetic music, musical storytelling, whether it starts to feel more like a concert version. Possibly for that reason, I didn't personally feel as though we met any kind of necessary emotional climax. And I think there's much that's really great about this material, specifically its perspective, which increasingly is taking a back seat to, you know, the inherent power of the songs and the majesty of these characters. It's the difference between just doing Jesus Christ Superstar and excavating it a little and really utilizing it to say something. Because, you know, this was in its day a controversial and utterly game changing piece of theater. You're producing it in the 2000 and 20s and it's a story at its core about making the difficult decision to betray your leaders because you no longer think that their choices and their statements and the way in which they are portraying themselves reflect the best interests of your community. There's multiple things I could be alluding to right now. There's various things going on in my head, but there's a lot that we could say with that. Instead. It feels like over time, when it's come back again and again and again, this production has become increasingly generic. And when they finally lash together a couple of pieces of music equipment and Sam Ryder as Jesus slowly rises up on it like a little cross. I'm sorry to say. It looked more like one of those performing Yodas from Covent Garden than anything else. And crucially, in all but one fleeting moment, it didn't elicit any kind of a meaningful emotional response from me. And I know this show, I know this material, I know this story, I understand the beats of it. I'm not convinced that every audience member is going to be able to leave the Palladium having followed exactly what happened. And so ultimately, I kind of feel the same way about this production as I felt about Evita last summer. There's a huge amount of talent on stage. There's a lot of really exciting stuff happening. The inherent power of the thing is huge. There is a wow factor. It is, you know, undeniably crowd pleasing. I don't know that it's as substantial a piece of theatre or that it's functioning on some of the most basic levels that it was. And finally, to really address why I feel like that, let's talk about these performance
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Mickey Jo Theatre
So let's begin with this production's leading man, Sam Ryder, playing the role of Jesus. One that overlaps fully with his brand, with his style of singing, at least that is what I had assumed. There are some interesting things that happen in his lower range because Sam, if you don't know, was a Eurovision Song Contest finalist who very nearly won it for the United Kingdom a couple of years ago. And during that performance he sang a song with impressive high falsetto range. One of the things that Jesus in Jesus Christ Superstar is most known for is these very high notes in Gethsemane, though they often demand a slightly different placement anyway. In his low range, there is this slightly breathy quality, slightly less. Less strength than perhaps you would like in a musical theatre score. There's also a slight Americanized quality to some of the vowel placements that can be a little unusual. And all that tends to do when you're hearing like, I didn't start it, rather than I didn't start it, is to divorce us a little bit from the believability of the whole thing. It feels less like an emotion and more like an affectation. A vocal choice being made by a very talented single singer rather than an acting choice coming from a place of sincerity. And honestly, it is scarcely an acting role. It is also not really the finest role in the show. Those who know Jesus Christ Superstar will tell you that Judas is the stronger character. From a dramatic perspective. He may even have the better sung material. And Sam Ryder certainly plays the obvious conflict, anger and pain of Jesus in these difficult final days of his life.
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Mickey Jo Theatre
But the complexities of a man foreseeing his inevitable death with human frailty and fear and indecision aren't quite there. Which isn't to say he didn't provide a very impressive rendition of Gethsemane. There was a little bit of a wobbly dismount from one of his highest notes, which actually, interestingly enough, was the moment I started enjoying his performance a whole lot more, because it brought reality into it, it brought vulnerability into it, because. Because he then sang that note a slightly different way. And perhaps that's always how he navigates it. And it wasn't actually any kind of an error. But as soon as the vocal performance started to feel a little less considered and began to feel a little more raw, a little more in the moment, coming from some kind of a place of emotion, then I found it a lot easier to enjoy. And undeniably, the upper range is very impressive. And it's great to see a production of Jesus Christ Superstar when you don't have to worry about the highest heights of the score and how. How firmly they're going to be sung. The challenge for Sam Ryder is that he is surrounded on this stage by actors who are brilliantly capable of acting through song, and none of them more so than David Thaxton. My God, what an actor David Thaxton is. I spoke so highly of his performance as Max in Sunset Boulevard in the West End and on Broadway. And he reminded me this evening what an astonishing talent he is. The best Pontius Pilots can can, to my mind, steal the show with this brief bit of music. Some of the most thrilling bars of the score that come after his interrogation of Christ and everything leading up to that. The way that he played it, with both a sense of total ruthlessness and a judicious quality, and this real commitment to gripping Christ and willing him to deny his alleged crimes and advocate for himself. After Christ continues not to do so and remains silent, Pilate screams out, don't let me stop your great self destruction. Die if you want to. And on this final note that Thaxton is belting out so powerfully, he slides up as the whole thing modulates and we hear the iconic blasted out fanfare of Bam, Bam, Bam. The most thrilling moment of the score. The most thrilling moment of this production. I think I audibly said, oh, when it happened, it was so good. Now, as well as Pontius Pilot, we also have King Herod played across these two different London runs by a rotating cast of utterly diverse performers. The likes of Boy George and Julian Clary, who has previously been seen in this production, as well as Matt Bomer and Richard Armitage and Simon Russell Beale and Leighton Williams and Michael Ball. Each is somewhat understandable in the role of King Herod. Ish. But you wouldn't expect expect them to all be sharing the same role in the same production, which speaks to, you know, flexibility and the notion of this as a gig. Jesus Christ Superstar with a set list and Herod is like the featured guest artist of the evening. I would also assert that in the history of this production, they haven't all the way figured out exactly what this character is, or at least who he is to them in this context. But between the costuming, the makeup and the chorus, a campy interpretation probably aligns best, which is what Jesse Tyler Ferguson gave this evening with a performance that felt in many ways like an homage to drag and queer cultural icons of yesteryear. He already looked like Leigh Bowery. It felt sort of like this reigning dominant club kid personality. Now, some cast members have returned to this production. Others are brand new, including rising musical theater star Desmonda Cathabel playing the role of Mary Magdalene. And what an astonishing vocalist Desmonda is. I've heard her sing so many times and I wasn't anticipating that there are further strings to her bow because the quality that she brings to this, it's something of a throwback vocal. It feels like it is paying Tribute to Yvonne Ellerman. She sounds a little Karen Carpenter, a little Carol King, a little Sandy Denny even there is, alongside the persistent power and very romantic musical theater sound that she always delivers pristinely, a folky quality that is emerging as she is singing the these songs as she's singing Everything's All Right and I Don't know how to Love him and could we start again please? I'm not utterly convinced by the way in which this is staged in the second act or the slightly light hearted nature of her performance as she's singing this moments before Christ is possibly going to be publicly executed. But I'm not going to lay all of the blame at her feet because it's staged as this kind of a sing songy campfire strum along like you know our closest friend and leader is about to be put to death. But since we have the marshmallow marshmallows, may as well enjoy them alongside the wine which he recently informed us is his blood. Couple more standout performances I need to tell you about. One of them is given briefly by Billy Luke Nevers. Although you can watch him in the ensemble throughout giving full out choreography. But he also performs Simon Zealots as Simon and he's just stupidly talented. It's star power that he brings to the stage. He is also alternate Judas. If you have a chance to see him in this role, it's going to be something incredibly exciting and energetic that he's going to bring to this performance. However, the principal actor returning to the role of Judas is Tyrone Huntley and he goes on this passionate journey to ultimately a place of sorrow and desolation. As Judas. You don't necessarily think that he's going to have anywhere further to take this anguish. And then he does, the way that he plays with this score, the way that he dances around different octaves. It's a gorgeous vocal, it's a solid vocal, but it has so much damn honest raw emotion just poured into it. And he understands very well the value of the notes that Judas is able to sing, the words that he is able to say and those that he can't fully deliver or finish. The thought that can't be completed, the note that can't be met because it's simply too devastating. Some people may have suspected this after seeing him in the role previously. Hell, some people may have suspected this simply because of their knowledge of the show. Show. But you arrive expecting a star performance from Sam Ryder and you get one, but it's from Tyrone Huntley. Those then have been my thoughts about Jesus Christ Superstar at the London Palladium. I dare say that there are going to be a lot of different responses to this one, though we may agree on many of the same ideas. Please feel free to let me know what you thought of this in the comments section down below, especially if you disagree wildly with me. This might be a controversial Star RA from Mickey Jo Theatre, but listen, the production has sold very well. It's going on to another limited run and then it's going to travel around the country. So chances are many, many people are going to see this during its ongoing lifetime. It may not be the last time that we've seen this production, so I encourage you, especially if you haven't seen a production of Jesus Christ Superstar before, to go and check it out for yourselves and then come right back here and let me know what you thought about it. In the meantime, thank you so much for listening to this review. I hope you enjoyed if you if you did, you can find so many more of my reviews wherever you are, seeing my face or hearing my voice. You can also subscribe here on YouTube or follow me on podcast platforms, or sign up to my free weekly substack newsletter at the link in the description if you want to stay up to date with all of my upcoming theater reviews. And I promise you there are more on the way. This summer alone in London, we have a Sweeney Todd revival and we have Cats. For now though, thank you so much for listening to this. As always, I hope that everyone is staying safe and that you have a stay safe stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day.
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