Melbourne Reviews

Praise the Lord. Jesus Christ Superstar has arrived in Melbourne and delivered the most epic production of the year.

Andrew Lloyd Webber and Tim Rice’s musical inspired by the biblical tale of Jesus’ final days seems an odd subject choice for musical theatre. The Bible and glitter don’t necessarily go hand in hand … or do they?

The fully sung-through musical is an action-packed event that doesn’t let up from the moment the tracky-dack-wearing disciples enter, revealing a humble Jesus (Michael Paynter) in millennial skinny jeans and a backwards cap. Within seconds, Paynter has transformed into a bona fide rockstar, his unbelievable vocals ripping through the Princess Theatre and captivating the audience. It’s a huge moment; it decides whether the audience is coming on this journey of suspended disbelief, and Paynter delivers. Equally matched by the emotionally raw talent from Javon King, he proves Judas is just as much a rockstar as the son of God.

Between the charged interactions of Paynter and King is the tranquil presence of Mahalia Barnes as Mary, who captivates the audience with her silky smooth “I don’t know how to love him.”

There’s also some traditional “razzle dazzle” musical theatre moments, with the high priests transforming from underworld villains into a 1960s boy band with the flick of a staff. And of course there is Reuben Kaye, the (drag) queen of cabaret who arrives in the most elaborate of fashions as King Herod with a definite Frank-N-Furter energy. Kaye is a delightfully camp interlude before the inevitable crucifixion.

As the story makes its way to its tragic conclusion, Paynter gives the audience the performance of a lifetime with “Gethsemane.” Twice the entire audience was on their feet for this remarkable talent, and several days later, recalling this performance inspires goosebumps. As does the reveal of Judas’ betrayal and King’s reprise of “I don’t know how to love him,” adding layers of depth to the narrative.

Additionally, the cast has a beautiful and engaging chemistry; perhaps it’s from having spent so much time together for the Sydney season, but there is a genuine connection on stage. More contemporary dance than Fosse-esque Broadway, the choreography adds to the narrative, blending cult-member energy and intriguing storytelling.

Jesus Christ Superstar is a flawless production that has found the most talented and remarkable artists to bring this (let’s be honest) rather depressing story to life. The stamina and sheer brilliance of those on stage combined with the updated set design and direction from the 2016 Olivier Award-winning revival is something magnificent to behold. If you only see one musical this year this is it. Or, as my plus-one said after the show, “No notes.”