Review of ‘Jesus Christ Superstar’ (2026, West End): “London Palladium is blessed with a heavenly production, but Sam Ryder is far from divine”

We’ve come a long way since Andrew Lloyd Webber and Tim Rice’s third collaboration became the cultural phenomenon that took the 70s by storm and almost single-handedly defined a whole generation. Its progressive rock score and unfiltered lyrics perfectly encapsulated the essence of the era — a time that advocated for change, nonconformism, and the break with tradition.

Instantly embraced by younger audiences, the inaugural London production went on to become the longest-running musical that the West End had birthed up until then. But its success didn’t come with a few detractors, ranging from Christian demonstrators waving banners outside the Palace Theatre accusing the show of blasphemy to the censors of Franco’s Spain fearing that Mary Magdalene’s anthem would turn viewers into homosexuals.

The piece might not come across as daring anymore. But it’s still a superb work of art. And over 50 years after its original incarnation, it continues to attract spectators from all around the world. It’s a story that resonates beyond religious belief. The tale of a man and not of a god. And how this man went down in history for every reason except his own.

First came Regent’s Open Air Theatre. Later, the Barbican. And now, it’s the London Palladium’s turn to host Tim Sheader’s exquisite reimagining of Webber and Rice’s blockbuster. The production is everything fans and newcomers alike could wish for. It understands the material perfectly. So much so that the show’s foundational spirit is embedded in every aspect. And much like the piece it serves, the unwavering strength it demonstrates ten years after its premiere is starting to suggest immortality.

Conceived as a mixture between a concert and a staged play, the design brims with intricacy despite its apparent simplicity. A large scaffolding delimits the space, somewhat resembling a Roman forum. Its lower gallery accommodates guests who witness the events in the same way onlookers did when Jesus was tortured and executed — one of the many strokes of genius that make this version so terribly compelling, where visual impact and narrative significance work hand in hand.

Its level of symbolism is nothing short of astounding. There is elegance in its execution. But there’s always a visceral undertone to it. For instance, the flagellation scene shows a blood-splattered Jesus, but the lashes are depicted with golden glitter thrown on him. Once again, we experience a full cooperation between meaning and form. Not only does the sparkle infuse the sequence with a Glam Rock flavour, but it also denounces the eye-catching spectacle that the tormenting of another human being has been turned into.

The production keeps the material close to its roots by using hand microphones for the lead parts, which further blurs the line between concert and representation. At the same time, several references to Carl Anderson’s film adaptation are featured throughout. The Overture employs a similar group dance for Jesus’s initial reveal, while the Last Supper includes the same tableau mimicking Da Vinci’s famous fresco — and a fun nod to the conspiracy theory popularised by Dan Brown’s novel.

Drew McOnie’s choreography is wonderfully energetic and eccentric. Although his signature is evident throughout the work, the ties with the 70s movie are nonetheless evident. And all of them should be welcome. Likewise, the orchestrations capture the score’s authentic sound through a rich tapestry of electric guitars, woodwinds, brass, keys, strings, and drums. Everything played live. And apart from the questionable phrasing of the Overture’s opening melody, everything played just as beautifully.

Taking all of this into account, audiences could only expect a match made in heaven between the show and its star. Sadly, this isn’t the case. Sam Ryder disappoints by portraying an uncharismatic Jesus with virtually no acting skills, and a limited vocal range, which results in slightly off-pitch segments – especially during Hosanna -and an overall struggle with both the songs’ lowest and highest registers. Admittedly, his performance improves during the most stirring numbers — especially, Gethsemane. But even those sections come off as unfulfilling, as his delivery lacks credibility, and the emotion is sometimes scarce.

On the contrary, other company members shine with divine radiance. Both Matty J and Bob Harms make an outstanding duo as Anas and Caiaphas, flaunting impeccable vocals while playing the roles with commanding presence. The halo, however, should be placed over Tyrone Huntley’s head for his magnificent interpretation of Judas — deeply layered and impassioned, suggesting a possible romantic infatuation with Jesus as the explanation for his betrayal. Jesse Tyler Ferguson’s celebrity appearance is enjoyable but just adequate, playing a Rocky Horror Tim Curry-inspired King Herod without the natural flair and magnetism of whom he tries to honour.

A first-rate production in every sense of the word, Jesus Christ Superstar has resurrected on the West End stage to the audience’s delight. Nonetheless, its achievements are clouded by an underwhelming household name, who is hardly God’s gift to this art form. In the end, Ryder’s contribution stands as someone who, in the words of the show’s leading lady, is just a man. And we had so many men before — most of whom were better.

All pictures credit to Johann Person.

Jesus Christ Superstar plays at the London Palladium until 5 September, followed by an additional run at Theatre Royal Drury Lane from 16 October to 9 January. Tickets are available on the following link.

By Guillermo Nazara