Sam Ryder's gentle Jesus has rock-god moments but falls short of a full Superstar performance: PATRICK MARMION's first night review

The celebrated rock opera Jesus Christ Superstar has returned to the London Palladium in a new revival that marries heavy-metal gospel with contemporary theatrical sensibilities. The production has attracted attention by casting Sam Ryder, known for his viral TikTok presence and as the runner-up of Eurovision 2022, in the iconic role of Jesus.

This revival reflects the enduring appeal of Andrew Lloyd Webber and Tim Rice’s 1970 landmark work, which remains a fusion of prog rock influences and theatrical storytelling. The score, originally performed by Deep Purple’s Ian Gillan, continues to command attention with its dramatic shifts from intense rock passages to more subdued, folk-inspired ballads. The production’s sound design often reaches high decibel levels, underscoring the music’s raw energy.

Sam Ryder’s interpretation of Jesus offers moments of rock star intensity but has been noted for a somewhat tentative overall delivery. His vocal falsetto appears intermittently, with a more commanding presence emerging only during the pivotal "Gethsemane" sequence after intermission. While Ryder’s voice conveys a delicate and ethereal quality, some critics observe a lack of vocal consistency and mid-range power necessary to fully embody the character’s emotional journey.

The narrative structure of Jesus Christ Superstar remains unconventional, presenting the story as a collection of character-driven songs rather than a linear drama. This approach can complicate the audience’s understanding of motivations, particularly with the figures surrounding Jesus. Tyrone Huntley, reprising his role as Judas from the 2016 Olivier Award-winning production, portrays the betrayer as a politically motivated agitator. Huntley’s performance delivers a compelling and forceful rock interpretation, culminating in a powerful gospel-inspired finale.

Another standout in the ensemble is Desmonda Cathabel as Mary Magdalene. Her vocal performance, marked by emotional depth and clarity reminiscent of folk legend Sandy Denny, elevates the character’s torch song “I Don’t Know How To Love Him.” This number, a classic within the musical, gains renewed resonance under Cathabel’s interpretation, potentially appealing to contemporary audiences beyond the stage.

The production’s design enhances the rock concert atmosphere, featuring a grungy scaffolding rig and an array of lighting effects that bathe the stage in warm, earthy tones reminiscent of ancient settings. Tom Scutt’s set design effectively blends the historical context with a modern rock gig aesthetic, creating a vivid visual environment.

Supporting roles add texture to the performance, including Bob Harms as Caiaphas, whose deep bass voice adds gravitas to the High Priest’s character. Additionally, Jesse Tyler Ferguson provides a brief but memorable comic interlude as King Herod. Ferguson’s cameo, characterized by a playful cabaret style, introduces a moment of levity while maintaining the production’s theatrical flair. This role will later be undertaken by a series of notable performers, including Richard Armitage and Boy George.

The choreography by Drew McOnie incorporates a contemporary, almost hippy-inspired movement style, with a small audience seated on stage in designated areas, simulating spectators in the narrative. This staging choice invites a sense of immediacy and communal witnessing, aligning with the rock concert vibe while grounding the ancient story in a relatable setting.

Ticket availability includes a limited number of £25 seats, offering accessibility amid generally high pricing, which reaches up to £395. This pricing strategy reflects the production’s premium status and the London Palladium’s stature as a leading venue.

While Sam Ryder’s portrayal may not fully capture the commanding presence some expect from the role of Jesus, the overall production benefits from strong musical direction, skilled supporting performances, and innovative staging. The revival underscores the timeless nature of Lloyd Webber and Rice’s work, demonstrating its capacity to attract new audiences through contemporary casting choices and dynamic presentation. Details on future performances and additional casting remain limited at this time.