Review: JESUS CHRIST SUPERSTAR at Kulturhuset Stadsteatern

Opening night for Jesus Christ Superstar which is almost exactly 55 years ago, since the first stage production of Andrew Lloyd Webber and Tim Rice’s *Jesus Christ Superstar* premiered—a musical that has since been performed countless times around the world. Its Swedish debut took place in 1972 at Scandinavium in Gothenburg, where Agneta Fältskogs, from ABBA, played Maria Magdalena,

Photo: Sören Vilks

I have seen several productions of it—even though it isn't one of my favorite musicals—but the productions usually feature such excellent musical theatre performers that it makes the show well worth seeing.

This production is no exception; it is packed with fantastic performers who are consummate superstars and deliver at the highest level. Alexander Lycke (Jesus), Fredrik Lycke (Judas), Marsha Songcome (Mary Magdalene), John Alexander Eriksson (Caiaphas), Alexander Larsson (Priest), Petter Snive (Andrew), Kitty Chan (Soul Girl), and Glenn Edell (Thomas), to name a few.

Alexander Lycke is charismatic as Jesus, and his rendition of "Gethsemane" is deeply moving. He portrays a Jesus with intense emotional depth and a commanding presence in every scene.

Photo: Sören Vilks

Marsha Songcomes is brilliant as Mary Magdalene; every note she sings is a delight, and her rendition of "I don't know how to love him" is magical.

Fredrik Lycke is powerful as Judas, and the stripped-back, raw conclusion of "Judas's Death" goes straight to the heart—with a final set design that is extremely effective in its simplicity.

Magnus Uggla fills out his gold-glittering costume as King Herod. It is a rewarding, small comic role and he gets the opening-night audience to perform the "Rocket" cheer together with him. 

Photo: Sören Vilks

What truly elevates this production to one of the most memorable is the magnificent set design (Zofi Lagerman) combined with the lighting (Mikael Kratt). In the opening scene, soft orange-lit drapes create the illusion of a tent where Jesus and the disciples are gathered.

Foto: Sören Vilks

These drapes are reshaped and illuminated in various colors throughout the different scenes. They are used to particularly striking effect in the temple scene, where the action is suggested rather than explicitly shown—an approach that makes the moment even more powerful. Throughout the production, the visual solutions are stylish and impactful, elevating every scene; the set design and lighting are, quite simply, superstars in their own right.

Overall,with the translation of Erik Fägerborn, this is a successfully modernized production that strongly emphasizes the theme of a religious cult led by a charismatic figure. It portrays how the disciples exploit and thrive on the movement—viewing it as a career path—only to distance themselves when the tide turns. A public backlash ensues, leaving the men in power unsure of how to handle the situation. The myth surrounding the leader endures as he—resurrected—walks out and vanishes into the crowd.

*Jesus Christ Superstar* runs until April 18, 2027. Tickets for the autumn performances are nearly sold out.

Reader Reviews

To post a comment, you must register and login.

Få Broadway-nyheter på WhatsApp

Få de senaste uppdateringarna, nyheterna och exklusivt innehåll direkt i appen.