Tim Sheader's restaged Jesus Christ Superstar arrives at the London Palladium promising a West End spectacle, but does it really?
Having originally found its footing in the unique open-air setting of Regent's Park, Sheader has restaged the majority of the show for this limited West End run, but sadly not to its benefit.
Moving the production indoors does it no favours; rather than feeling like a cohesive piece where the direction elevates the story, it falls flat a lot of the time and appears quite incoherent.
Drew McOnie's choreography and Tom Scutt's industrial set feel a bit flat, and Lee Curran's lighting design lacks any real creative spark, doing very little to build a distinct atmosphere.
The heavy rock instrumentation still manages to swallow up the sound design at times, meaning Tim Rice's fast-paced, witty lyrics get lost.
About the performances: Sam Ryder in the title role - he is a famous pop star, and we understand that. We get plenty of his trademark vocal riffs and high notes, but the performance lacks the gritty emotional stakes and sharp dramatic focus that the role desperately requires. He is clearly still finding his footing with the specific acting demands of a major stage musical, especially in the quieter, reactive moments when he isn't the central focus of the scene. That said, his vocal power is impressive, his popularity is undeniable, and hopefully he will settle into the dramatic side of things and improve as the run continues.
For now, he is outshone by Tyrone Huntley as Judas, who comfortably rises to the challenge: his vocal performance is great. David Thaxton brings gravitas to Pilate, while Desmonda Cathabel is fine as Mary Magdalene.
This revival proves to be a frustrating case of what might have been. A few standout moments do manage to punch through, but they are ultimately weighed down by a fragmented production that fails to coherently connect the dots.
It is an evening that feels more like an uneven, slightly muted concert than a fully realised, transcendent piece of musical theatre. For a production that promised so much on the big stage of the London Palladium, it unfortunately leaves you wanting a great deal more.
It runs until 9 January. Tickets: here.
Photos: Johan Persson