Cover Broadway rock music ’Jesus Christ Superstar’ is now showing in Hong Kong from now until August 2026 (Image: Zeus Martinez)
Broadway rock music ’Jesus Christ Superstar’ is now showing in Hong Kong from now until August 2026 (Image: Zeus Martinez)
1 / 1
As the iconic Andrew Lloyd Webber rock opera ‘Jesus Christ Superstar’ arrives in Hong Kong, musical director Harry Haden-Brown discusses preserving its 1970s edge, casting pure humanity and the irreplaceable magic of live theatre
More than half a century after its explosive debut, Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar remains a towering monument in the history of musical theatre. Unlike traditional Broadway mega-musicals that rely on classical structures, sweeping orchestral sweeps and spoken dialogue, this masterpiece completely broke the mould by pioneering the mainstream rock opera. It is an entirely sung-through production that channelled the counter-culture energy of the 1970s directly onto the commercial stage.
Now, a dynamic new international touring production has officially landed in Hong Kong, bringing this legendary score to local audiences with contemporary staging, modern lighting and a powerhouse cast. The show premiered yesterday (July 8, 2026) at the Hong Kong Cultural Centre, and will run until August 1, 2026.
Tatler caught up with the production’s musical director, Harry Haden-Brown, to unpack how the show maintains its razor-sharp edge today and what it takes to play one of the most famous figures of human history.
Don’t miss: A world of pure imagination: Why ‘Charlie and the Chocolate Factory’ is Hong Kong’s Golden Ticket
Above Grant Hodges, Kodiak Thompson and Joshua Dormor in ’Jesus Christ Superstar’ (Image: Zeus Martinez)
Grant Hodges, Kodiak Thompson and Joshua Dormor in ’Jesus Christ Superstar’ (Image: Zeus Martinez)
1 / 1
Jesus Christ Superstar is a 50-year-old rock opera. How do you ensure it stays fresh and modern for a contemporary Hong Kong audience without losing its original 1970s edge?
The clue is in the genre itself: rock opera. We treat it fundamentally like a rock concert that just happens to have a killer story. Because of that approach, it stays fresh even though the music remains deeply rooted in that classic 70s style. To anyone who loves the original recordings, the music will sound incredibly familiar.
However, we certainly pump up the volume—it’s loud, the guitar solos are rocking and contemporary, and it carries a slightly more modern sound. While the orchestrations are faithful to the original, contemporary sound systems are much higher in quality now. This means audiences can hear everything with pristine clarity, which is vital because the entire show is sung-through and every lyric matters. Combined with brand-new staging, contemporary choreography and modern lighting, it carries more drama than ever before.
The core tension of the story relies on the relationship between Jesus and Judas. How does this dynamic continue to captivate audiences across generations, even for those who aren’t religious?
Even though it takes inspiration from the Bible, the narrative is entirely rooted in a human friendship and a tragic falling out between two people. It touches on universal themes of loyalty, jealousy and betrayal. That makes it appeal to everyone. Whether you know the biblical story inside out or don’t know it at all, you will see it hit in a fresh way.
Above Gab Pangilinan and Luke Street in ’Jesus Christ Superstar’ (Image: Zeus Martinez)
Gab Pangilinan and Luke Street in ’Jesus Christ Superstar’ (Image: Zeus Martinez)
1 / 1
Some modern shows, like The Book of Mormon, can be quite provocative or satirical. Has Jesus Christ Superstar faced controversy, and how does this production handle the religious subject matter?
Unlike The Book of Mormon, this show doesn’t make a mockery of religion—it isn’t a satire. It simply tells the story from a very human perspective. But for people who feel strongly about their religion, it could be different from their expectations, and I think it’s important that you come in with an open mind if you are religious. Even if they disagree with how the story is told, that’s okay, and this [difference between expectation and reality] still makes them think about [their attitude towards their religion].
We aren’t necessarily presenting a definitive historical document, because nobody truly knows exactly how it happened; we are telling a story through the medium of a rock opera. I’m not religious myself, but working on this as a musician encouraged me to look deeper into the biblical text to see where the musical adapts things to better connect with a modern audience.
Jesus is one of the most famous figures in human history. How do you guide your actors to embody such iconic roles without being crushed by the historical weight?
From a musical direction standpoint, my rule is to completely ignore the historical and iconic weight and focus entirely on the material in front of us: the notes, the volume, the orchestra, and the lyrics. Our directors always encourage the actors in rehearsals to forget what they know about the most famous person of all time. If they concentrate purely on the raw text and the immediate emotion, the iconic nature of the character naturally takes care of itself on stage.
Don’t miss: Is Hong Kong becoming the ‘Broadway of the East’?
Above Luke Street as Jesus in ’Jesus Christ Superstar’ (Image: Zeus Martinez)
Luke Street as Jesus in ’Jesus Christ Superstar’ (Image: Zeus Martinez)
1 / 1
What are the specific technical and vocal challenges that the actor playing Jesus has to overcome?
The score demands that he sing incredibly high, but the true challenge is emotional. He has to sing as someone who is actively experiencing a psychological breakdown. When you experience a breakdown, you naturally strain and lose your voice, and he has to project that exact vulnerability and tension on stage. The challenge is executing that exhausting level of emotion in a technically safe way so he can successfully perform it eight times a week. Our Jesus is an incredibly well-trained performer who handles it brilliantly.
This tour features a highly global team. How does the casting reflect modern representation as you travel throughout Asia?
Having a diverse cast is exciting because it genuinely tells the story better when you have different shapes, sizes and voice types on stage. Our core company is highly international, bringing together performers from America, England and Australia.
When we originally launched this specific tour leg in the Philippines, we had a local Filipino guest cast member join us, which was a special way to connect with the local community. Due to massive logistics, we don’t have local Hong Kong performers built into this specific run, but perhaps next time we return we can make that happen. The casting process was focused entirely on finding talented humans who could tell the story, regardless of nationality.
Above Harry Haden-Brown, the musical director of ‘Jesus Christ Superstar’ (Photo: Harry Haden-Brown)
Harry Haden-Brown, the musical director of ‘Jesus Christ Superstar’ (Photo: Harry Haden-Brown)
1 / 1
In our current digital age dominated by fast, short-form content, why do you think live musical theatre remains so vital?
We are all incredibly used to fast, snappy digital content, which is exciting and [great for] promotion. But once you step inside a theatre, you put your phone away and experience something that can only happen in that room. Absolutely nothing beats the shared live experience of those two hours together. The sheer volume, the visceral intensity, and the collective connection with a live cast and a live orchestra create an emotional impact that a phone or a TV screen simply cannot replicate.
Zabrina is the Senior Editor, Arts and Culture of Tatler Hong Kong. She specialises in performing arts, visual art and film. Her wanderlust was first fuelled by the Mighty Rovers Antarctica Expedition 2010. Over the years, she has interviewed A-list artists and filmmakers, including Oscar winners Chlóe Zhao and Tim Yip, Golden Horse winner Sylvia Chang, In the Mood for Love cinematographer Christopher Doyle, Pachinko author Min Jin Lee, and Coachella’s first Chinese solo singer Jackson Wang. She won gold at the WAN-IFRA Asian Media Awards for her 2021 feature on the waves of hate crimes targeting Asian Americans.
