The angels are singing, and the guitars are rip-roaring as Jesus Christ Superstar makes a heavenly return to London, bringing Andrew Lloyd Webber and Tim Rice's iconic rock opera to the London Palladium with BRIT and Emmy-nominated Sam Ryder making his West End debut as Jesus.

But what did the critics think of this resurrection - was it holy, or downright sinful? 

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Jesus Christ Superstar Critic Reviews

"Sam Ryder, with his sinewy appearance, flowing locks and natural non-hipster beard, looks as though he was born to play the role of Jesus (amazingly, he was also a trainee carpenter in his youth). Today it is all-too easy to see the part as a psuedo hippy wellness guru, but Ryder's West End debut brings raw vulnerability and real passion to the role. His vocal range and control are highly impressive, particularly when you bear in mind he has never had professional singing lessons." BroadwayWorld

"Sheader's approach is to re-emphasise the boldness, to let the music carry the drama, and to let character emerge. The approach pays dividends in Ryder's Jesus, a performance defined by his popstar presence and by the soar of his voice in that falsetto register. People respond to him because he seems genuine and nice; he brings both those qualities to his portrayal in his West End debut, but also finds true drama as the show reaches its un-triumphal conclusion of sacrifice and suffering." WhatsOnStage

"Drew McOnie's muscular yet expressive choreography remains a marvel, especially for the zealous, convulsive mob (led by the magnetic Charley Warburton). Tom Scutt's design features towering scaffolding as well as indelible details like gold glitter hurled at Jesus during his flagellation, or glistening liquid silver poured over Judas's hands. Tom Deering gets a thunderous rock sound out of the phenomenal onstage band; along with Lee Curran's blinding stadium floodlights, it adds to a thrillingly visceral experience. The climactic "Superstar" is extraordinary in its juxtaposition of euphoria and sheer horror." London Theatre

"Between Ryder's stamina, Huntley's silvered hands and Drew McOnie's choreography contemporary folded into something liturgical this Superstar preaches convincingly to the converted and wins a few souls besides." The Reviews Hub

"The extensive use of hand-held mics feels a tad incongruous, yet every effort has been made to stylistically incorporate their use with aplomb in designer Tom Scutt's set and costume designs. In particular the frequent entrances of the Pharisee whose biblical staffs have microphones at one end and individual cipher insignia at the other, which act as bases when flipped for the musical numbers. In these moments both Matty J and Bob Harms deliver the goods as Annas and Caiaphas respectively. Also hitting the right notes in all the right places were Desmonda Cathabel as Mary Magdalene and Billy Nevers as Simon. The former creates a sound blend akin to Linda Ronstadt and the gorgeous Judith Durham of The Seekers. Meanwhile, Nevers exudes power and vibrancy as he urges Jesus to channel his popularity into a military uprising against their Roman oppressors, in Simon Zealotes/Poor Jerusalem which almost stopped the show and was the high point for me." London Box Office

"Cutting through the visual noise, Ryder's take on this musical's big second-act number, "Gethsemane", is a showstopper. He starts in his comfort zone, strumming an acoustic guitar then tears his way out of it, unleashing a haunting, quavery falsetto as he reckons with his inevitable death, and the hypocrisy of the world's original absent father. Tyrone Huntley has a raw, haunted energy as the obsessed Judas, who's determined to hold this emotionally unavailable spiritual leader to account. Desmonda Cathabel is stellar as Mary Magdalene glamorous as a Sixties chanteuse, her voice as sweet and flowing as the scented oils she rubs Jesus with. As the show's dark relief, David Thaxton makes an excellent, tormented Pontius Pilate, the polar opposite of Jesse Tyler Ferguson, making an enjoyably camp despots-who-lunch cameo as Herod." The Independent

"But the first thing that hits you here is the sound, which contains Greek levels of melodrama. It's a shame it stays at a single, fever-pitched high, flattening the emotional drama. Still, there is the glory of the signature song, Superstar, and the vocal blast of both Ryder and Huntley is a sound to behold. Rock and electric guitar crisscrosses choral church music and there are flecks of jazz and gospel. The voices really do raise the roof, especially Ryder's. He gets a standing ovation for "Gethsemane", Jesus's confrontation with God. But the characterisation is far less satisfying and, just like the singer Self Esteem in David Hare's Teeth n' Smiles, Ryder's accomplishment is primarily vocal here. His Jesus does not seem like the dangerous revolutionary that temple High Priest Caiaphas (Bob Harms) regards him to be but rather a nice guy, verging on the bland." The Guardian