REVIEW: Jesus Christ Superstar - QPAC

Presented by: The Really Useful Group & QPAC

Venue: Lyric Theatre, QPAC

It wasn’t every day I walk into an Andrew Lloyd Webber musical that I have never really vibed with and walked out feeling like I’d just been baptised by rock and roll and thrown into a holy fever dream. Jesus Christ Superstar, the iconic 1970 rock opera by Webber and Tim Rice, tells the story of the final days of Jesus through a modern lens. It is a high-octane blend of biblical narrative, political unrest, and soaring electric guitars. I know the score like the back of my hand (thanks to my mum’s vinyl collection), but this brand-new, Olivier Award–winning production wasn’t just a revival… it was a reinvention. To my surprise (and mild annoyance), I was absolutely blown away.

Let’s get one thing straight: this version of Superstar was more concert than traditional theatre. If you’d gone in expecting sweeping emotional arcs or classical storytelling, you may have been left a little bewildered. This was a stripped-back, stylised, visually minimalist staging that favoured raw vocals, rhythmic energy, and striking imagery. It was a warehouse rave in ancient Judea: gritty, pulsing, and unafraid. This production was reimagined by London’s Regent’s Park Open Air Theatre where it originated and was helmed by director Timothy Sheader and choreographer Drew McOnie. Completing the creative team was design by Tom Scutt, lighting design by Lee Curran, sound design by Nick Lidster and music supervision by Tom Deering. The Australian creative team comprised Associate Director Shaun Rennie, Musical Director Laura Tipoki, Resident Choreographer Bree Tipoki, Associate Lighting Designer Gavan Swift and Associate Sound Designer Michael Waters.

The set, a towering multi-level structure, loomed over the stage, housing the onstage rock band. A crucifix structure stretched out to dominate stage left, meaning most of the main action unfolded stage right. And the sound was LOUD. So loud, in fact, that lyrics were occasionally swallowed up by the sheer wall of sound, especially during complex ensemble numbers. When diction got murky or vocal melismas dominated, it was tricky to catch some emotional nuances if you weren’t already well-acquainted with the score.

This production also used handheld microphones throughout, a fantastic choice that leaned into the concert aesthetic and ensured the lead vocals were amplified in the best possible way. The choreography was precise, stylised, and hypnotic (especially the group formations when viewed from the balcony seating). At times, though, it felt more like watching an impressive music video than a piece of musical theatre.

The ensemble stormed in from the audience itself: hoodie-cloaked apostles bursting through the aisles with parkour energy for "What’s the Buzz". Their movement was intense, strange, and oddly mesmerising. The more you surrendered to the choreography, the more it pulled you in. That said, the scale and constant busyness of the ensemble occasionally pulled attention away from key emotional beats, particularly those involving Jesus (like the forty lashes scene).

This production lived and breathed through its vocals... and the cast delivered. Javon King as Judas was an unstoppable force, bringing grit and soul to every second he was onstage. His vocals were out-of-this-world, and his emotional volatility made him utterly magnetic.

Michael Paynter as Jesus was all range and rockstar presence, commanding the infamous falsetto sections with control and force. He opened "Gethsemane" playing his own acoustic guitar in a spotlit, soul-baring moment that grew into an arena-worthy concert à la Steven Tyler. He was a rock god with a halo, nailing those sky-high notes like he had a direct line to the heavens.

Mahalia Barnes was sublime as Mary Magdalene, her velvety voice wrapping around "Everything’s Alright" with tenderness. Her powerful voice honestly felt like Adele had wandered into Jerusalem. She was flanked by incredible soul singers Danielle Matthews, Calista Nelmes, and Stellar Perry, whose blended harmonies and pure vocal tone elevated every group number. "I Don’t Know How to Love Him" was a moment of confessional peace in an otherwise pounding score, and "Could We Start Again Please" (with Tana Laga’aia as Peter) became one of the production’s best (and few) genuinely tender scenes.

Reuben Kaye stole every millisecond of his stage time as King Herod, embracing full chaos in his unhinged, outrageous, deliciously bizarre number. His Herod was serving Mugatu-from-Zoolander as he milked every moment of his 15 minutes of fame. It was as if Rocky Horror met Moulin Rouge and decided to crash this biblical rock opera with a cabaret villain twist. While some may have found it tonally jarring, it was undeniably one of the most memorable scenes of the night.

Peter Murphy’s Pilate was another standout. His voice had that classic rock grit and gorgeous adaptability across scenes. His "Pilate’s Dream", complete with self-accompanied guitar, was a gentle, eerie moment of introspection amidst the storm. Meanwhile, Elliot Baker as Caiaphas and John O’Hara as Annas delivered otherworldly vocals in "This Jesus Must Die"... those low notes were unreal!

Other highlights included Graeme Isaako’s electric "Simon Zealotes", which was a personal favourite, and the intense, primal choreography of "Damned for All Time", paired with Judas’ emotional collapse.

The lighting design was just as much a character as any of the performers. From the balcony, the almost reflective floor amplified the colours, turning group movement into living artwork. The blocking was swift and dynamic — the only figure to float slowly and almost divinely through the chaos was, appropriately, Jesus.

Now… a little real talk. The one thing that detracted from this otherwise stellar production wasn’t the show... it was the audience. Or rather, the lack of theatre etiquette. A full row behind me seemed to think they were at a pub, loudly talking even during the crucifixion scene. Despite several shushing attempts from our row, the ushers never stepped in. It was disheartening, and unfortunately, it’s becoming a trend at QPAC. When audiences spend that much on a performance, they deserve the chance to experience it without distractions. I'm all for enjoying yourself, but please Brisbane, respect the art, the performers, and your fellow audience members.

Now back to the finale! The title number was everything you’d want it to be — a rock anthem explosion, with Judas backed by powerhouse soul singers in a number that felt seconds away from a mosh pit. The crucifixion that followed was staged with haunting reverence: sparse but beautiful. I just wished I could have fully immersed without distraction.

This production of Jesus Christ Superstar wasn’t traditional (and that was the point). It was stylised, concert-like, and unapologetically contemporary. It didn’t always prioritise clarity or emotional connection, but it delivered a full-throttle theatrical experience unlike anything else. Whether you were a lifelong fan or, like me, on the fence.... this production might just have converted you.

Hallelujah!