Jesus Christ Superstar (Theatre Royal, Drury Lane)
Warnings: Not suitable for those aged under 10. Contains flashing lights, pyrotechnics, smoke and haze effects, violence, blood and onstage depiction of the crucifiction.
Not to be confused with the Susan Boyle musical (“Superstar? Jesus Christ!”) this is the one about the guy who gets nailed to a tree just for suggesting everyone is kind to each other for a change.*
Truly the greatest story ever told, a summer revival for this Lloyd Webber / Rice favourite.
Transfers here after its London Palladium Theatre summer 2026 season, for a continued West End run.
*Gag credits: Barry Cryer and Douglas Adams.
FROM THE SUMMER 2026 LONDON PALLADIUM PRODUCTION
(seen at the afternoon preview performance on 2nd July 2026). Some actors have now left the cast.
The Regent’s Park Open Air Theatre staged this production, thrillingly in 2016. They revived it again in 2017 to fill empty coffers, Barbican in 2019 to satisfy demand, 2020 to fill empty hearts and it hit the road in 2023 for the entire country to enjoy.
A decade on, it is given the London Palladium’s summer musical season slot. The monkey is not privy to inside information, but with the phenomenon that was “Evita” last year, it suspects they are hoping for lightning to strike twice.
Financially, it already has – the show not only almost sold out at the Palladium, but now arrives here for the autumn and winter.
Artistically? If you are coming to this production for the first time, there is plenty to enjoy. If you have (as the monkey has) seen three of the four revivals, you may feel slightly differently.
Tom Scutt attempts to echo the 2016 design by scaffolding over the side boxes and keeping the vast crucifix stage set. Lee Curran goes heavy on the moving spotlighting, causing those in the front stalls to cover their eyes at times. The crucifixion is unholy, as white light floods the back of the stage to impressive effect.
Only Adam Fisher’s sound design fails to delight. The mixing desk managed to miss several cues at this performance, hopefully rectified in preview, and some of the lyric is not picked up well by handheld microphones when mixed with movement – not a fault present in the previous productions.
Caging up members of the public on three sides as witnesses is an innovation, but director Tim Sheader does nothing with the idea, failing also to make unique use of the extra levels. It feels a little like “Cats” when he does, actors popping up occasionally in odd corners, or prowling the stalls.
Choreographer Drew McOnie notes in the programme that the dancers are told to “feel the music” and almost improvise their movements. Their writhing is augmented with running themes of united tribal covered eyes and reaching hands. It pulsates - and will have the same impact on newcomers to the work as it did first time around for the monkey.
The casting sells this show, Sam Ryder in particular. He relies on his singer / songwriter abilities to carry his performance, The climax being an unsurpassable “Gethsemane.”
Patriarchal warmth and leadership to unite his followers are less obvious, and there is a lacking nuance in the closing scenes. As he grows in acting confidence, these may deepen, but it is early days.
Desmonda Cathabel gives “I Don’t Know How To Love Him” her usual unique vocal treatment. A particularly gentle Mary Magdalene, her confusion and devotion are genuine, troubled eyes tearing up at the strength of her emotions.
Around them, the bass guitar line throbs as we build to the inevitable. It should leave those who do not know this staging exhilarated. For the monkey, it has to admit that it would have liked to have seen a new and original presentation.
This will dazzle first-time visitors, but some of the visuals are now showing their age a little, making this resuscitated resurrection good - but no miracle. The prefix “super” seems a little too much for this particular “star”.
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.
| Run Time: | 2 hours 5 minutes including 1 interval |
| Monday: | 7.30pm |
| Tuesday: | 7.30pm |
| Wednesday: | 7.30pm |
| Thursday: | 2.30pm, 7.30pm |
| Friday: | 7.30pm |
| Saturday: | 2.30pm, 7.30pm |
| Sunday: | X |
Notes:
No 2.30pm performance on 17th October or 20th November 2026.
Extra performance at 2.30pm on 23rd December 2026.
No performances on 24th and 25th (taking his birthday off, notes the monkey), 28th December 2026 .
No 2.30pm performance on 26th December 2026.
Extra 2.30pm and 7.30pm performances on 27th December 2026.
No 7.30pm performance on 31st December 2026.
Venue Box Office & Current Prices
020 3925 2998Venue box office details and show price charts are available on the Theatre Royal, Drury Lane page.
TodayTix
TodayTix. Charge between 10% and 20% booking fee per ticket. Discounts are often available as this is a large global ticketing company with this specific aim.
London Theatre Direct
Londontheatredirect.com. Charge between 10% and 25% booking fee per ticket. Discounts are frequently available. Part of Trafalgar Theatre Group, known for customer service and unique offers.
LW Theatres
www.lwtheatres.co.uk - the theatre group's own website provide the service for the Cambridge, Theatre Royal Drury Lane, Gillian Lynne, London Palladium and His Majesty's Theatre.
They normally do not charge a booking fee, and Their site allows seat selection and provides a view of the auditorium too.
Availability: -
Price: -
Notes:
No policy announced.
Address: Catherine Street, Covent Garden, WC2B 5JF
Box Office: 020 3925 2998
More details: Seats to buy or avoid at this venue plus travel information and other details can be found on the Theatre Royal, Drury Lane page
