This is London Magazine July Edition 2026 - Flipbook - Page 59
Sam Ryder.
Photos: Johan Persson
JESUS CHRIST SUPERSTAR
London Palladium
Those among us lucky enough to
have seen the first production of the rock
opera Jesus Christ Superstar in 1970,
when Deep Purple’s Ian Gillan brilliantly
provided the vocals as Jesus, with
Murray Head as Judas Iscariot,
witnessed the creation of a ground
breaking genre at a time when musicals
were dominated by traditional
orchestrations. The music of Jesus
Christ Superstar was truly revolutionary.
Andrew Lloyd Webber’s blend of rock,
gospel and soul turned musical theatre
on its head.
A subsequent succession of
productions with impressive cast lists
led to Regent’s Park Open Air Theatre in
2016, celebrating 45 years since Tim
Rice and Lloyd Webber’s seminal
musical first hit the stage. Artistic
Director, Timothy Sheader, led the
revival, with outstanding choreography
from Drew McOnie. The production won
the Olivier Award for Best Musical
Revival in 2017.
Now, ten years on, the creative team
is reunited in a unique staging of their
worldwide hit production, with Michael
Harrison presenting the show at the
London Palladium for Lloyd Webber
Harrison Musicals until 5 September,
followed by a 12 week engagement at
Theatre Royal Drury Lane from
16 October to 9 January.
As tradition dictates, the lead is a
singer with vocal prowess to match the
scale of the story, this time in the guise
of Eurovision’s Sam Ryder whose range
is already the stuff of legend. The music
is as complex as it is memorable – the
score has drama, energy, emotion, each
song familiar to generations of
discerning theatre goers of every age.
Another nod at modernity comes in
the shape of different actors playing the
coveted role of Herod through both
seasons. Simon Russell Beale and
Richard Armitage in July are followed by
Boy George, Layton Williams and Julian
Clary to complete the Palladium run.
These camp interludes provide a
welcome respite from the acute tension
of the story as it progresses towards
The Last Supper and Calvary. Sam
Ryder’s epic performance of
Gethsemane, steals the show.
In contrast to previous performances
over the years, which were significantly
reigned in, even breathy, Desmonda
Cathabel (pictured) plays Mary
Magdalene as a strong women, an equal
among men, with vocals to match,
particularly in her superb rendering of
59
‘I Don’t Know How To Love Him’.
Mention should be made of colour,
costumes and lighting, bursts of laser
sharp beams illustrating the narrative.
Hosanna is a delight of terracotta tones
and mesmeric use of palm fronds.
In this production, Jesus is humanised,
mixing with money changers and
prostitutes, acknowledging moments of
doubt. The original musical drew protests
for omitting the resurrection. Here the
message is clear. The relatively
diminuitive structure of the Crucifixion is
overshadowed by a huge cross, set at the
carrying angle. Ryder’s Jesus is alive and
Judas condemned for the ultimate
betrayal. The story lives on.
Jemma Court
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