Jesus Christ Superstar (London Palladium)
Warnings: Not suitable for those aged under 10. Contains flashing lights, pyrotechnics, smoke and haze effects, violence, blood and onstage depiction of the crucifiction.
Signed performance: 3rd September 2026 at 7.30pm.
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 from 16th October 2026 to The Theatre Royal, Drury Lane for the Autumn / Winter 2026 season, for a continued West End run.
*Gag credits: Barry Cryer and Douglas Adams.
(seen at the afternoon preview performance on 2nd July 2026)
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 is not only almost sold out at the Palladium, but will transfer to the Theatre Royal, Drury Lane 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”.
Alison Smith:
Mon, 29th June 2026Another brilliant evolution of the show which originated at The Regent's Park Theatre and then the Barbican, with all its stark industrial set, creative use of mic stands and so much glitter. Sam Ryder is an amazing addition. He not only handles the vocals beautifully, but he's a great actor and performer. Tyrone Huntley's Judas matches him with singing ability, though the choice to have him with an extremely public school English accent was oddly distracting. Overall a fabulous night out at one of my favourite musicals.
Seats (Stalls V43 & V44):Good rake means you have a good view over those in front of you. Slightly restricted view due to the overhang, but only obscured a little of the action taking place of the upper level to the left. Decent for the price.
Venue:
Large comfortable theatre. Marked down because with 10 mins before the show the bar staff said they had sold their capacity of interval drinks and couldn't take my order. Never experienced this before. No wonder the leading man was thirsty later on!
Mike:
Thu, 2nd July 2026Great show brilliant performances from the whole cast especially the main actors and also Jasmine Jules Andrews as the Mob leader very energetic dance movements other theatre goers seat by us all enjoyed this fabulous show bravo.
Seats (C15):Venue:
Helen Taylor:
Thu, 6th August 2026It's hard to believe that this is Sam Ryder's first musical theatre role, and what a role, to step straight into playing Jesus. I thought it was an astonishing performance; he gave every impression of a man who was exhausted by the demands and expectations of his followers. Sam's performance of Gethsemane was one of the best performances of any song I can remember, and got a deserved standing ovation. Even as far back as row N, I could see tears in his eyes at the conclusion of the song, as he resigns himself to his fate. Billy Nevers was playing Judas in the production I saw, and handled a demanding role very well. Having seen the 1973 film on tv recently with Yvonne Elliman as Mary, I thought Desmonda Cathabel's voice was a little 'harder edged' but she has a great voice.
As the Monkey notes, the audience on stage is a bit different (I suspect they were all told to wear black) but that was it, they just stood there, taking up space which the performers could have used.
Despite the cost I'm looking to book again when it moves to Drury Lane, that's how good it was in my view.
Seats (N33, stalls):On the aisle on the left hand block, but a very good view of the stage thanks to a decent rake and the fact you're looking across an aisle towards the stage so even someone tall in front wouldn't be an issue. The leg room was generous and for the production of Jesus Christ Superstar, an added bonus of members of the cast entering and exiting via the aisles so you were within inches of cast members at times.
Venue:
Stalls K 32. On the aisle, legroom fine as my knees weren’t hitting the back of the seat in front if I sat up straight, and a perfect view of the stage. Close enough to see the detail but far enough back to take in the whole spectacle, apart from as I said in the board, the crucifixion itself.
I’ve reflected overnight and I think that (for me at least) the gimmick of guitars and microphones took away a lot of the emotion from this production. There was an awful lot of singing while walking around whilst not necessarily acting which I presume is a directorial choice after having the same issue with the tour, and the sense of urgency wasn’t there until midway through act two.
It probably worked best for the scenes with Annas and Caiaphas, where it was used to create a striking image. There were some excellent visual moments and great use of lighting so for me, there was a great production waiting to get out but didn’t quite hit the mark.
David Thaxton stood out as I felt he was really playing a character, something I didn’t get from all the cast even though it sounded wonderful.
Really, it is clear that these stylised productions are not for me; I didn’t know how to react to "Sunset Boulevard" and although I am sorry I missed "Evita" from a performance point of view, I’m not how I would have taken the staging.
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 |
Venue Box Office & Current Prices
020 3925 2998Venue box office details and show price charts are available on the London Palladium Theatre page.
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They normally do not charge a booking fee, and Their site allows seat selection and provides a view of the auditorium too.
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Address: 8 Argyll Street, Soho, W1F 7LA
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 London Palladium Theatre page
