Opening in Melbourne on 20 March, this Andrew Lloyd Webber classic has been a familiar production, particularly for Australian audiences. The old 1992 revival cast recording featuring John Farnham Kate Ceberano and Jon Stevens can be found stashed in most parents’ CD collections, probably gathering dust – but for younger audiences it is now time to experience this rock musical in a fresh new light.
Of Andrew Lloyd Webbers musicals, Jesus Christ Superstar is one of the most unique. The score and signature riffs by the featured electric guitar (prominent on stage) is iconic and the tempo drives this production forward with great momentum. Make no mistake, this is a musical for singers. There is little dialogue, and the pressure to perform vocally is great. Make no doubt about it, the singing in this musical is spectacular.
Michael Paynter, relatively new to the national musical theatre scene but well known within the Australian music industry is exemplary. His tone, pitch perfect delivery and volume carries this performance, and his stage presence is second-to-none. An utter highlight is Paynter’s rendition of Gethsemane.
Javon King, a New-York based actor who has found a home on Australian stages matches Paynter’s presence and vocal acrobatics and shines throughout. As Judas, his role is a complicated one, but to listen to his smooth voice run laps around ALW’s libretto.
As for Mahalia Barnes? Flawless. Her tone seamlessly blends into the performance and the classic “I don’t know how to Love Him” is a standout.
The set design is simple, a large cross surrounded by some elevated platforms with music equipment a prominent feature. Wires, speakers and guitars appropriately complimenting the productions’ grungy, new-age theme. Costumes are similarly minimal. A range of tracksuits, greys and blacks which allow the swing to effectively move as one unit, with little focus on the individual. Such choices are appropriate, as it allows the music, and the vocal performances to shine.
There is one exception to this – when Reuben Kaye’s King Herod enters the stage for his cameo. In a striking costume, with impressive vocals, Kaye commands attention and laps up every drop. His comedic timing, thirst for attention and physicality is one of the key moments in this production and will be remembered long after the final curtain falls.
As far as musicals go, Jesus Christ Superstar is not for everyone. It’s got a very religious subtext that is perhaps a barrier to entry for some. In reality, this should not dissuade audience members from buying a ticket to see this show – as it is the performances, the score and in particular the vocals which truly encapsulate the ethereal experience.
One can only hope that a long-overdue Australian cast recording is created to cement this cast’s talent for generations to come.
Photo credit: Jeff Busby