Sam Ryder’s Gethsemane Stops Jesus Christ Superstar Dead at the Palladium

Jesus Christ Superstar | London Palladium until 5th September 2026

Eurovision’s silver medallist strikes gold as Jesus in this electrifying Palladium transfer.

Jesus Christ Superstar arrives in the West End with significant buzz, featuring pop star and Eurovision sensation Sam Ryder, who secured second place for the UK, making his musical theatre debut as Jesus. This is the acclaimed Regent’s Park Open Air Theatre production, now staged indoors at the London Palladium until September 5th, before transferring to the Theatre Royal Drury Lane from October 16th to January 9th. This indoor setting is a welcome change, given my personal preferences regarding open-air theatre.

Sam Ryder bears a striking resemblance to Jesus, albeit with considerably more tattoos! He leads this legendary Andrew Lloyd Webber and Tim Rice musical, directed by Timothy Sheader, with choreography by Drew McOnie and design by Tom Scutt. The production, which originated in the 1970s, was once the longest-running show in the West End and sparked controversy for its portrayal of Jesus’s final days from Judas’s perspective. Tyrone Huntley reprises his Olivier-nominated role as Judas, a part he played when the production toured indoors a few years ago.

The musical began as a concept album due to initial difficulties in securing a stage production. This origin is occasionally evident, as the narrative jumps from event to event across two forty-five-minute acts. However, the score is phenomenal, though I personally find “I Don’t Know How to Love Him” a bit uninspired. Time and again, I am reminded of Tim Rice’s brilliance as a lyricist, and I believe his contributions to musical theatre are somewhat underrated.

Regarding Sam Ryder’s performance, I was initially a little underwhelmed. His Jesus seemed merely a pleasant individual, making Judas’s animosity less clear. Then came Gethsemane, and that’s when a star was truly born. He blew the roof off the Palladium; I have never witnessed a performer receive a standing ovation in the middle of a song, yet he did. Any earlier misgivings were completely dispelled. He delivers an incredibly demanding performance, physically thrown around by other cast members, and shares a powerful partnership with Tyrone Huntley, clearly conveying the friendship between the two characters.

The show boasts a substantial program, filled with stunning photographs and a fascinating article on the evolving perception of Judas’s role. This rather disproved my usual theory that the larger the program, the less I enjoy the show!

On the night I attended, I was actually onstage. You can opt to stand in designated pens at the back rather than sit, and in the second half, I was fortunate enough to be close enough to have reached over and undone Sam Ryder’s man bun, had I wished to be forcibly removed from the London Palladium before the show concluded! For a £25 ticket, if you can secure one, it’s an incredible experience to be immersed in the heart of this rock opera.

Then there’s the brilliant casting of Herod. I saw Jesse Tyler Ferguson, known from Modern Family, but Richard Armitage, Boy George, Layton Williams, and Julian Clary are all scheduled for stints during this run. When Sam Ryder takes his break and the show transfers to the Theatre Royal Drury Lane until January, the lineup of Herods includes Matt Bomer, Rob Brydon, Reece Shearsmith, Bob the Drag Queen, Michael Ball, Simon Russell Beale, Omid Djalili, and Layton Williams, with one more still to be announced. This is genius casting and producing.

I have often wondered what it feels like to look out at an audience from the London Palladium stage, lights and all. Having finally had the chance myself, I can say it feels exactly as Andrew Lloyd Webber describes it: it wraps itself around you. It doesn’t feel vast, nor do you feel dwarfed, and, despite my initial nerves, there isn’t any audience participation, thank the Lord!

Standing on stage offers a unique opportunity to experience the show up close and personal, allowing you to truly appreciate the effort, enthusiasm, and energy of both the hard-working ensemble and the principal cast.

The stylistic choice of a scaffolding set and the use of microphones is effective and harks back to the show’s origins. Although superbly lit by Lee Curran, and featuring a beautiful recreation of Michelangelo’s Last Supper, I must admit I found the final crucifixion scene somewhat disappointing in size and scale.

Sam Ryder makes a hugely promising West End debut as Jesus, taking the roof off with a Gethsemane that earned a standing ovation like nothing I’ve witnessed in a musical before. Paired with a superb Tyrone Huntley as Judas and Andrew Lloyd Webber and Tim Rice’s phenomenal score, this is an incredible night at the London Palladium.

Book the standing pen if you possibly can. This is a show that rewards proximity, and the closer you get to Sam Ryder mid-Gethsemane, the more you understand why EyeOnLondon left the Palladium genuinely shaken.

For more London arts and culture, visit EyeOnLondon.

[Image Credits | Johan Persson]

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