Review: JESUS CHRIST SUPERSTAR, Starring Sam Ryder

Ten years after Tim Sheader's hit version of Jesus Christ Superstar entranced audiences under the stars in Regent's Park, it is back in a much-hyped revival at the London Palladium. Andrew Lloyd Webber and Tim Rice's seminal rock musical was originally released as a concept album in 1970 and features huge rock numbers, lung-bursting ballads and a wealth of earworms. It takes a talented director to create a show from a soundtrack that retains huge appeal, but sometimes lacks personal story arcs. Sheader's engaging staging and a hugely talented cast bring the album powerfully to life.

The show tells the story of the final weeks of Jesus’s life, focusing on his relationship with and betrayal by Judas Iscariot as his supporters turn against him and condemn him to death.

Sam Ryder, with his sinewy appearance, flowing locks and natural non-hipster beard, looks as though he was born to play the role of Jesus (amazingly, he was also a trainee carpenter in his youth). Today it is all-too easy to see the part as a psuedo hippy wellness guru, but Ryder's West End debut brings raw vulnerability and real passion to the role. His vocal range and control are highly impressive, particularly when you bear in mind he has never had professional singing lessons.

Ryder's version of "Gethsemane" has already been released as a single and has been built up hugely with outings on TV shows such as Britain's Got Talent and the BBC's Big Night of Musicals. The song is seen by many as the emotional pinnacle of the show and Ryder's live rendition does not disappoint. A soaring falsetto, belting power and brimming with the character's doubt, fear and trepidation, it is a stunning performance.

Returning from Regent's Park is David Thaxton's thoughtful and slightly unhinged Pontius Pilate replete with SPQR tattoos and Phil King's gently confused Peter. The wonderful Tyrone Huntley also reprises his Olivier-nominated role of Judas and is utterly compelling in his tortured decisions. His rasping vocals are spiked with frustration and increasing venom, especially in his visceral rendition of "Heaven On Their Minds".

Desmonda Cathabel is a touchy-feely Mary Magdalene, exploring her increasingly strong feelings for Jesus in a rather underwritten part. Her creamy-sounding, country-tinged voice is perfect for the calming, lullaby-like "Everything's Alright" and tender in "Could We Start Again Please".

In a changing cast of five, including Layton Williams and Boy George, Jesse Tyler Ferguson ramps up the camp as Herod, strutting on to the stage in a dazzling gold lamé outfit, full of puff and manic energy. It's a stark contract with the King of the Jews bloodied and bruised at his feet. There is added danger given to the black and silver-clad priests, including dark menace from Bob Harms's Caiaphas and Matty J's petulant Annas.

There are some lovely staging decisions; the cast wittily reenact Leonardo da Vinci’s Last Supper and Judas receives his pieces of silver by dipping his hands in silver paint which doesn't come off - a nice Lady Macbeth-style twist. As Jesus is violently lashed, the whole cast gets involved, throwing gold glitter instead of whips as Ryder convulses in pain.

Sheader doesn't shy away from the bloody violence of Jesus's imprisonment and death, with many of the cast streaked with red after manhandling Jesus before his crucifixtion. Visually, it is brutal and powerful, seemingly totally at odds with the uplifting melodies of the title track. As the production is faithfully sung-through like the album, the long-held issues about character devlopment remain. But the main reason that this show works so well is that Sheader leans into and plays tribute to the concert origins of the show, with multiple stand and hand held microphones used, included one with an ominous red lead that Judas ends his life with. 

The massing of the increasingly angry mob is given huge force, enhanced greatly by Drew McOnie's organic choreography which contains jerking, repetitive movements that often looks like the ensemble are either meditating or in some sort of psychedelic trance. It is propulsive, showing the power of a crowd to love you or break you, flipped in an instant. Was it ever thus?

Tom Scutt’s rough and industrial set uses the tierred scaffolding from Regent's Park where the 19-piece orchestra resides and cast members appear. What adds a new dynamic is the addition of standing audience members on the stage level of the scaffolding. Adding to the mob mentality, it also suggests audience complicity in the actions on stage. Scutt also recreates the cruciform catwalk which now rises dramatically skyward at the crucifixtion itself, neatly alluding to Jesus's resurrection. Lee Curran's moody lighting flickers with rock concert flashes.

Musical director Tom Deering goes big on volume, driving the electrifying live orchestra with huge energy. This comes at the cost of some of the vocals at the start and indeed the second half throbs with intent more than the first.

To much of the audience, none of the small niggles will matter. They are here to see Sam Ryder and, behold, a new West End messiah has arrived.

Jesus Christ Superstar is playing at The London Palladium until 5 September before extending to Theatre Royal Drury Lane from 16 October – 9 January 2027. The show will then tour the UK from February 2027. 

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