My last visit to the Capitol Theatre was to see Sister Act. Mathew De Sousa had described that performance disturbingly well. And so, I returned to the venue to see Jesus Christ Superstar with some trepidation.
In this version of Tim Rice and Andrew Lloyd Webber’s, stage show, Reuben Kaye plays Herod. Kaye was the guest on The Project in March 2023 who made an inappropriate “joke” that I, along with many other Christians, found offensive.
Herod was no friend of Christians, so perhaps that choice might make sense. What made less sense was seeing “Last Supper Cocktails” on sale on arrival. It’s hard to know if such things are deliberately provocative or a result of what Christian Brugger has described as, Australia’s “astonishing level of religious ignorance and oblivion.”
JCS is a musical version of the weeks leading to the crucifixion of Christ—the most powerful of stories ever told. It poses questions about the motivation of Judas and his relationship with Christ; however, it omits the role of Satan (John 13:27).
The story should be the focus but there are many distractions. The stage is set with steel rigging. The band can be seen throughout. Jesus’ followers and his detractors are constantly dancing—appropriate in the presence of the Lord, on occasion (2 Samuel 6:14-15), but overdone here.
There are no set changes, and the costumes are, with one exception, in muted tones. Jesus has short hair. Jesus and Peter play guitar.
The upshot is that a concerted effort is required of the audience to imagine the Holy Land in 30AD. Even those who know the events quite well, will find the whole thing difficult to follow. However, for those ignorant of the story, Christ may appear as minstrel leading an itinerant dance troupe.
The one colourful costume is confined to Herod. Kaye’s outfit and camp performance are completely over the top. And if anyone had forgotten about his tasteless joke on The Project, he reminds them of it as he exits the stage.
Originally released as an album, in September 1970, with its first performance in Australia in 1972, the good news is that Rice and Lloyd Webber’s music has aged remarkably well.
Mahalia Barnes, who plays the woman who anointed Jesus’ feet (called Mary here and presumably intended to reference Mary of Magdala) sings very tenderly and passionately.
Javon King as Judas has a strong voice and performance.
Michael Paynter, who plays Christ is not, in my view, the strongest performer of the troupe.
Sadly, the show ends with the crucifixion, and with no sign of the Resurrection to come. In an odd epilogue the crucified and bloodied Christ sits down with Judas at the end.
My verdict? Save your money, stay at home and watch The Chosen or put the original soundtrack album on instead.
JESUS CHRIST SUPERSTAR is playing at the Capitol Theatre, Haymarket,
until 26 January 2025
Professor Michael Quinlan is the National Head of School, Law and Business at the University of Notre Dame Australia.
