Review by Carly Fisher
Just over 50 years since the show first opened in Sydney, Jesus Christ Superstar returns to the Sydney Capitol Theatre to bring the story of the bible back to the forefront of musical theatre going audiences’ minds. I’ll be honest and say that based solely on the story itself, this is not something that I would have chosen to see, but having not had the opportunity to see a production to this scale of this classic piece, I couldn’t miss the chance to attend.
Putting the source material to the side, what Andrew Lloyd Webber and Tim Rice created in the early 70s is a show that seemingly can transcend the usual barriers of time and of music ageing. Under the watchful and well considered musical direction of Laura Tipoki, the music feels current and fresh despite its age. A rock-opera in its truest sense, this sung-threw musical really relies on strong vocal chops to carry the weight of its storytelling through this rather busy musical score.
And in this production, the leads seriously deliver on that. As Jesus, Michael Paynter delivers a literally show-stopping performance (2 mid-song standing ovations in ‘I Only Want To Say’ - wow!). Whilst vocally, Paynter was unstoppable, some of the phrases delivered in quite a high pitch where unfortunately indistinguishable and made following the story slightly difficult.
If I stop to appreciate that most in the audience were likely familiar with the story anyway, the problem is definitely diminished but for those with less with less familiarity, I will warn, this isn’t always the easiest show to follow.
Despite this, Paynter is a fabulous Jesus and offers an arresting strength to the character that allows his individual performance to shine.
Equally, Javon King’s smooth vocals as Judas allow me to invest myself more into this character than I may otherwise. King is a great storyteller and Director Timothy Sheader’s beautiful moment of tainting Judas after he betrays is executed by King to perfection.
In this very loud musical, a moment of silence is rare and consequently quite striking and King’s final moment of Act 1 before the curtain goes down was, for me, stylistically, the strongest moment of the show.
Mahalia Barnes’ complete comfortability and expertise on stage shine through as she sings the role of Mary with complete ease and perfect vocals. In what would likely be many people’s favourite song from the show ‘I don’t know how to love him,’ Barnes offers just enough of an individual take to show off her incredible musicality, whilst honouring the beautiful song and leaving it, and its reprises, as almost a gift for the audience scattered through the show.
Let’s be honest, Aussies love a camp moment during a musical and this one has quite a few to offer. The priests for a start, led by Elliot Baker and John O’Hara, are, despite the intensity of the role they have in the story, exciting - both vocally and in their performance. But of course, the campest moment of all happens when Aussie icon of the cabaret scene Reuban Kaye takes to the stage as a flamboyant and commanding Herod. It’s a moment of levity that the show desperately needs (think The King in Hamilton - same vibe) and of course, Kaye just slayed. But would we expect anything less?
The only thing missing through these lead performances is chemistry. Individually, each soars, but together, there is something missing to take these great vocal performances to that next level of musical theatre drama. It’s disappointing that the acting chops don’t match the musical talent but at least if it was going to happen, the score of this show can largely hide it.
It is however, the ensemble that perhaps engages you the most through this show, particularly Darcey Eagle whose fluidity and strength is mesmerising. The dancers are so strong, so sharp and execute Drew Mconie’s complex choreography with absolute precision. How these performers can do this 8 times a week is a marvel - this is one of the hardest choreo tracks I have seen in a long time! So a huge congratulations goes to every single member of the dance ensemble - for me, it was the dancing that made this show shine.
Danielle Matthews, Calista Nelmes and Stellar Perry are beautiful as the soul singers - I wish this part was bigger because the vocals here, again, were just fabulous.
Ultimately for me, this was an amazing production of a show that I personally wouldn’t see again - it is not a storyline that interests me and despite how hard the Director has worked here to make the beatings and lashings more palatable on stage, 25 minutes of watching someone be tortured is just not for me. But would I recommend that you go, yes, definitely.
Not only will you see exceptional Australian talent but this show is embedded in the Australian musical theatre history books - this is the 7th production of the show on our shores and the original production in 1972 is one that still has people talking.
Will people be talking about this anniversary production of the show in the same sense? I guess only time will tell.
Image Supplied