Tyrone Huntley talks West End revival of ‘Jesus Christ Superstar’: “I never think of Judas as the villain of the story”

Following the original Regent’s Park’s Open Theatre run and its subsequent Barbican transfer, the actor returns to his role as Judas for the first time in seven years, joining the production’s first incursion into the West End. Guillermo Nazara chats with the performer about his take on the role, as he asks ‘what’s the buzz?’ around the show.

After so many years since this production’s original run, how does it feel to reunite with the role?

It feels a bit surreal! Being offered the role of Judas ten years ago was already such an unexpected, pivotal moment in my career, so being given the opportunity to revisit the role multiple times since then, and now at the world famous London Palladium, is quite extraordinary.

It’s been five years since I last played Judas, and in that time I feel like I’ve grown as an actor, as a person and, hopefully, as a storyteller. So, given my personal growth, I’m grateful for the opportunity to revisit the character and the show with some new perspectives.

What enticed you to return to it?

Judas is a role that asks absolutely everything of you. Vocally, emotionally, and physically. It demands personal sacrifices, but it’s enormously rewarding. Opportunities to play a role like that don’t come along very often, and I really appreciate being given another chance to sink my teeth back into such a behemoth role.

Also, in this production, I feel a certain ownership and responsibility in the role of Judas, so my decision to return was partly due to my love and respect for this version of the show and the creatives involved.

Has your understanding of the character evolved in any way during this time?

Definitely. Ten years ago, I was probably most drawn to Judas’s anger and frustration. Now, I find myself much more interested in his loneliness. He’s someone desperately trying to reach the person he loves most while feeling that every attempt to communicate is pushing them further apart. I think that’s a very grown-up perspective, and one I understand much better now than I did in my twenties.

This production keeps strong ties with the musical’s first stage incarnations as well as the 1970s film adaptation. Has any of those influenced your performance in any way?

Musically, we use the original concept album as our roadmap. We’re certainly not trying to recreate it exactly, but we draw inspiration from its rawness and distinctive musical style. We want the audience to feel as though they’re watching a live rock concert — something spontaneous, rough around the edges, and full of energy, while still meticulous in its intention.

This production also draws inspiration from the film, specifically its framing device. Like in the film, we begin as a company of performers who arrive, unpack our costumes and props, tell the story and then leave again. It reminds the audience that this is a story about people, their humanity, and relatability, and not just their status as untouchable biblical figures, which allows us, as actors, to focus on the emotions and actions at the core of the character rather than their reputation and legacy.

How would you describe your approach to the role?

The first challenge is to try not to be influenced by the historical judgment of Judas. I never think of Judas as the villain of the story — I try to understand him, his circumstances and his decisions, and hope the audience will make up their own minds.

I want him to feel present and honest. Every choice he makes has to come from a genuine desire to make things right rather than from a predetermined destination of betrayal. We know how the story ends but Judas doesn’t. My goal is to play him as someone desperately trying to prevent disaster and not realise it. I think that’s makes the tragedy land much more powerfully.

What are the challenges of playing a religious character through an agnostic perspective?

The main challenge is trying to ignore any preconceived notions and judgments about these characters, who have particular legacies that have been perpetuated for 2,000 years. Once you see them as human beings, the story becomes like any other, and we can approach the script as any actor would telling any story. Whether you’re religious or not, everyone understands love, friendship, loyalty, doubt, and betrayal. Those are the things I can relate to as an actor, and I can use that relatability to try and portray the character as truthfully as possible.

What other challenges have you found in this role?

I am ALWAYS talking about how demanding this role is vocally, but what’s equally challenging is making sure the singing never becomes the main focus. If I’m thinking about getting through the next high note, I’m no longer thinking as Judas, so I have to trust that all the preparation has been done, so I can be fully present in the scene. The most difficult thing is finding the balance between technical discipline and emotional abandon.

Over fifty years after its world premiere, do you think the show can still be found provocative?

I think in the seventies, the very nature of the show being a retelling of a biblical story made it provocative. Add to that its rock score and the fact that it gave Judas the main perspective, it was extremely divisive because of the cultural climate of the day. These days, I think the provocation can be found on a more relatable, personal level. The story explores really relatable themes of loyalty, leadership, celebrity, power, and the consequences of conviction, but it doesn’t preach or tell you who was right or wrong. It invites the audience to make up their own mind, which can lead to some really interesting conversations and debates.

Why do you think the show continues to resonate with new generations?

Firstly, the themes are timeless. Love, loyalty, friendship, fear, ambition, and betrayal are fundamental parts of being human. It’s a biblical story, sure, but the emotions are completely universal, so generation after generation can find something of themselves in the story.

Secondly, the music is as fresh and contemporary today as it was nearly 60 years ago. Andrew Lloyd Webber and Tim Rice created a score that’s thrilling, immediate, exciting, and emotionally charged, and a huge part of why new audiences continue to discover and fall in love with the show.

What are the highlights of this production?

The score is one of the greatest ever written for musical theatre, obviously, but what I love about this production is how all the creative elements work together to serve the story. Tim Sheader’s direction, Drew McOnie’s thrilling choreography, Tom Scutt’s striking design, and Tom Deering’s musical supervision all combine to create something truly special. On top of that, we have an extraordinary cast of young energetic performers, led by the wondrous Sam Ryder, who brings such charisma, generosity, and vulnerability to Jesus.

Why come see ‘Jesus Christ Superstar’ at the London Palladium?

Come for the music, the spectacle and, of course, internet sensation, Sam Ryder! Stay for the storytelling. We have an incredible cast, an iconic score, and judging by the audience response so far, a production that’s as moving as it is exhilarating.

Read our review of Jesus Christ Superstar here!

All pictures credit to Johann Persson.

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