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Jesus Christ SuperStar Melbourne - A Review by Kevin Harper


Review: Jesus Christ Superstar – Melbourne, Saturday 29 March, 2pm Matinee

Starring Michael Paynter as Jesus

Returning to Jesus Christ Superstar after more than five decades, my last encounter being the original London production in 1972, I was eager to see how this timeless rock opera had evolved. Accompanied by colleagues from the clinic—avid followers who’ve attended various Australian renditions featuring renowned local talents—I approached the 2pm matinee at Melbourne’s Princess Theatre with a blend of nostalgia and curiosity.

This production was undeniably spectacular, yet it cast a darker, more somber tone reminiscent of medieval mystery plays. This stood in stark contrast to the original’s lighter, more minimalist approach. The emphasis on shadow and symbolism added depth but also a heaviness that diverged from the narrative clarity I fondly remembered.

Vocally, the cast delivered powerful and dramatic performances. Michael Paynter’s portrayal of Jesus was emotionally charged, capturing the character’s turmoil and passion. However, the amplification was overdone; the sound was not just heard but physically felt, at times overwhelming the senses and diminishing the nuances of the music.

Reuben Kaye’s portrayal of King Herod as an overtly camp, drag-inspired figure has stirred more than a little conversation. Known for his unapologetically bold cabaret performances, Kaye infused Herod with a flamboyant, biting energy that both aligns with and subverts traditional interpretations. Some critics have praised the performance as delivering a “delightful nastiness” and a splash of modern irreverence, injecting humour into the production’s darker tones.

Personally, I found it an over-the-top embolism in an otherwise serious and meaningful show.

Herod’s song, already something of an outlier in tone, felt jarring in this staging—more fitting for a late-night drag revue than a Passion-inspired rock opera. One might even argue it could be excised entirely, with no real loss to the production’s emotional arc.

A notable distraction was the use of large handheld microphones instead of discreet headsets. These often obscured the performers’ faces during pivotal moments, particularly affecting the emotional connection during Jesus’s most poignant scenes. 


In a production where facial expressions convey as much as the lyrics, this choice was regrettable.

An additional concern was the decline in audience etiquette. Late arrivals disrupted the performance, causing seated patrons to stand and endure noisy apologies. Furthermore, premature standing ovations during ongoing scenes obstructed views and broke immersion. Such behaviors detract from the collective theatrical experience and warrant greater consideration.

Rating: 4.5 out of 5

Jesus Christ Superstar remains a seminal work in musical theatre. While this production introduced innovative elements and showcased commendable talent, it left me yearning for the simplicity and emotional resonance of the original.
(Noting that I was only 12 when I saw it.)

Principal Cast for the Melbourne 2025 Production 

• Michael Paynter – Jesus (Jesus of Nazareth)

• Javon King – Judas Iscariot

• Mahalia Barnes – Mary Magdalene

• Reuben Kaye – King Herod

• Peter Murphy – Pontius Pilate

• Elliot Baker – Caiaphas (High Priest)

• John O’Hara – Annas (High Priest)

• Graeme Isaako – Simon Zealotes (apostle)

• Tana Laga’aia – Apostle Peter (Simon Peter)

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