It's hard to believe that over 50 years have passed since Trevor White and Jon English first brought the iconic roles of Jesus and Judas to life on the Australian stage in Jesus Christ Superstar. This groundbreaking rock opera, written by Tim Rice and Andrew Lloyd Webber in 1970, has firmly secured its place in musical theatre history and remains beloved by audiences worldwide. As part of its 50th anniversary tour, the show is currently playing at Sydney’s Capitol Theatre until January 26th, before heading to Perth.

With its unforgettable music, powerful performances, and timeless themes of power, betrayal, and redemption, the hype around Jesus Christ Superstar is as strong as ever. 

Michael Paynter’s portrayal of Jesus in this production has completely redefined the role for me. As a lifelong John Farnham fan, (Jesus in the 1992 production), I never thought I'd feel such a deep emotional connection to this performance, but Paynter’s rendition was nothing short of extraordinary. His delivery of "Gethsemane" was so vocally stunning, I found myself in awe, struggling to keep my jaw from hitting the floor. The sheer power and emotion he brought to the song earned him a well-deserved mid-show standing ovation. Michael, if you’re reading this—please, for the love of all things musical—release your version of "Gethsemane" so I can listen to it on repeat! 

Javon King’s portrayal of Judas was a strikingly clean and nuanced interpretation. His voice was technically flawless, and the emotion he conveyed through his eyes was hauntingly powerful. One of the most memorable moments was the use of liquid silver to symbolise the blood money on his hands, a visual choice that was both haunting and beautifully executed. Unlike previous portrayals of Judas, such as Tim Minchin’s and Jon English’s more rugged, rock-inspired takes, King’s version presented a more polished, almost aristocratic Judas—one who carried the weight of his betrayal with an air of dignified torment. Regardless of which interpretation of Judas you prefer, there’s no denying that King’s vocal performance was absolutely unmatched. 

I’d like to make a special mention of someone who didn’t have a main role but truly stood out: Darcy Eagle, who played the mob leader and main dancer. Every time she stepped onto the stage, she commanded attention with her expressive facial expressions and impeccably clean movements. Whether portraying a devoted follower of Jesus or leading the chaos of the mob, Eagle transitioned seamlessly between these contrasting roles, maintaining an infectious energy throughout. What impressed me most was her ability to sustain such high energy and precision, especially considering she was dancing full out for most of the show. Her performance added so much depth to the production, proving that sometimes the most memorable moments come from those in supporting roles.

The choreography in this production was both modern and wonderfully unconventional, yet it all came together in perfect harmony. There was a unique flow to the movements, with elongated, smooth gestures performed at a quick pace, making full use of the dancers' bodies. Bree Tapoki, the resident choreographer, brought a distinctive style to the piece, blending contemporary elements with creative, bold choices that kept the choreography fresh and engaging. I truly enjoyed seeing her imaginative vision come to life on stage.

The costume design was fairly minimalistic, opting for a muted, "Yeezy-inspired" palette of greys and sage, with oversized clothing that gave the characters a somewhat contemporary, yet understated look. However, the one truly show-stopping outfit came courtesy of Reuben Kaye, who played King Herod and delivered the only comedic break in the show. Draped in gold, paired with stilettos and a studded gock strap, Kaye’s larger-than-life presence was hard to miss. His perfectly timed rendition of "King Herod’s Song" was a highlight, with his extravagant costume and bold performance adding a touch of fabulousity to the otherwise intense atmosphere of the show.

Mahlia Barnes brought a strikingly different energy to the role of Mary Magdalene, offering a more rugged and raw portrayal than we typically see. While Mary is often depicted with clean, sweet vocals, providing comfort to Jesus, Barnes used her belting range to bring a grittier, more complex dimension to the character. This Mary felt less like the traditional nurturing figure and more like a woman hardened by her past (a prostitute and victim of the societal abuse of her time). I appreciated this fresh take, as it gave a new depth to the role. However, while Barnes powerful vocals were impressive, I did feel there could have been more vocal variation. Showing her raw power was compelling, but I would have liked to hear her dial it back at times to create more dynamic contrast, allowing the quieter moments of Mary’s character to shine through as well.  

The staging was haunting and impactful, with a large corrugated metal cross dominating the stage, drawing immediate attention. Unlike previous productions, where scaffolding is often used to create dynamic levels and allow for more interaction between performers, this set opted for a simpler approach. The focus was on a staircase with a platform at the top, reminiscent of the one used in Hamilton last year. While it was visually striking, I did miss the usual complexity of scaffolding that adds depth and movement to the space. The staircase, though effective in its own right, didn’t quite offer the same variety of shapes and levels, but it still worked within the overall mood of the production.

The musicians were top-notch, seamlessly sharing the stage with the performers and showcasing their incredible talent. The opening moment was especially memorable, with a single spotlight on the electric guitarist, expertly jamming the iconic Jesus Christ Superstar riff, setting the tone for what was to come. This smooth transition led straight into Javon King’s standout performance of "Heaven on Their Minds," which was nothing short of electrifying. The synergy between the live band and the cast elevated the entire experience, blending the raw power of rock with the emotion of the story.

I highly recommend seeing this production, especially as we approach Christmas. It's a thrilling, thought-provoking experience that will stay with you long after the curtain falls, leaving you in awe of the performances, the music, and the emotional depth of the story and portrayal of the characters.