First I came out of the closet as queer. Next I came out of the closet as a lover of Eurovision. Then, I came out as a lover of musicals. I’m not sure why I wasn’t open about it – as someone with the apparently very rare ‘perfect pitch’, enjoying a sonic narrative is for me as natural as breathing. And although now agnostic, like many I was raised Christian so bible stories have an important place in my life outlook.
All of this to say there’s a fair amount of anticipation to see this version of Andrew Lloyd Webber’s Jesus Christ Superstar. A biblical musical with our very own Eurovision Spaceman Sam Ryder making his West End debut in the titular role – who is much loved in our household. If you’re gonna have a white Jesus, Sam Ryder is a perfect choice.
On Andrew Lloyd Webber; I’ve come to the conclusion that, although he is responsible for reinventing the musical genre with some of the most thoroughly enjoyed musicals of all time, I find his work a bit disjointed and lacking character and narrative depth. ALW’s works are not to my taste, but I love how they have provided accessibility to the joy of theatre; and far be it from me to hate on a leitmotif.
Accessibility is the word from the off – I defy anyone coming to this cold to not feel moved and impressed by Charley Warburton weaving her body on and around the giant metal crucifix, in her role as Mob Leader. She, and the other performers as they race down the aisles to the stage of the wonderfully air-conditioned London Palladium, move to a high energy start with Olivier Award-winner Drew McOnie’s choreography. Interpretive, elegant, and hypnotic.
McOnie has reunited with director Timothy Sheader and designer Tom Scutt. This combination of movement, direction and costume combines well and provides a seamlessly cohesive experience, which alone is worth seeing this production for. It’s interesting; I get a distinct cult-like impression from the group of Jesus and his disciples that I’ve not experienced from the story before, and I believe this is due to this combination. In particular, it’s the tension between this group and the Guards, with their staff-cum-microphone stands-cum-malevolent masks. I do have a penchant for the black, the baggy and the avant garde, and the way the costuming accentuates memorable performances by Bob Harms’ Caiaphas, and Matty J’s frankly jaw-droppingly excellent Annas is a point of difference that makes the production stand out for fashion lovers.
Speaking of performances, I recognise Mary Magdalene from Hadestown – it’s none other than Desmonda Cathabel, who gives the most incredibly emotional and note-perfect rendition of I don’t know how to love him – commanding the stage like the true professional she is. After an initial sound levels issue, I can hear Tyrone Huntley’s range as phenomenal – he expertly pulls off the technically difficult job of bringing astute gospel and jazz grounding to Judas.
But the absolute stand out for me is Billy Nevers as Simon; my goodness that man has pipes, and presence, and it shows since he gets the biggest roar from the audience – certainly from me. He brings the same clean, soulful and effortless tones as he brought to Hamilton. I will never tire of his voice.
There are a couple of memorable scenes that make the most of the staging, lighting and orchestra. There’s the moving, and slightly creep acapella ensemble moment that stirs my bones. The Last Supper scene is a lovely little Easter egg in-joke that is worth noting, making use of the imposing gigantic crucifix on the floor. And although more could be done with the lighting elsewhere, there is a scene in Act 2 that uses sound effects, glitter and metallic ticker tape to create a crescendo of juxtaposition that is weirdly emotional – both humorous and sad at the same time. I won’t spoil it for you though.
There is also the curious use of an on-stage audience that actually works really well. This production will have a rotating cast of King Herod, and I’m delighted that this night it’s Jesse Tyler Ferguson bringing a lightly camp Short King energy.
And Sam Ryder himself? It is a solid and enjoyable West End debut. His voice is powerful and distinctive – slightly too quiet in some parts – but he delivers those sustained notes he’s known for at the right moments. He brings a more subdued Jesus that doesn’t feel overdone – more like a side story which somehow feels right for this production since it allows the other performances to take precedence.
The final scene is where he really shines – hair and make-up do a fantastic job at ‘bloodying him up’ and he leans into this well for maximum impact. His acting skills, as expected, could use some finessing, but it can only get better. In fact, by the end of this run, I think he’s likely to take the crown as the greatest white Jesus we’ve had on stage.
NEED TO KNOW: Jesus Christ Superstar is playing at the London Palladium until Sat 5 Sep 2026 and Theatre Royal Drury Lane from 16 Oct to 9 Jan 2027
