He may have earned nationwide fame when he finished runner-up in the Eurovision Song Contest, but Sam Ryder has undoubtedly shaken off the show’s roots with his acclaimed turn in Jesus Christ Superstar.Critics have lauded the star’s performance in the Andrew Lloyd Webber musical as ‘sensational and soul-stirring’, following its press night at the London Palladium on Tuesday.Sam takes to the stage as the titular religious leader in the rock opera, alongside Tyrone Huntley as Judas and Desmonda Cathabel as Mary Magdalene.Jesse Tyler Ferguson took to the stage as King Herod, though a string of stars including Richard Armitage, Michael Ball and Matt Bomer are set to alternate the role during its run.The show is set to transfer to London’s Theatre Royal Drury Lane for a 12-week run in October due to popular demand, with Sam set to remain in the role for a nationwide tour next year. Sam’s performance earned particular praise from critics, though they noted that parts of the musical left something to be desired. Sam Ryder has earned rave reviews for his ‘sensational and soul-stirring’ performance in Jesus Christ Superstar The singer has undoubtedly shaken off his Eurovision roots with his performance in the Andrew Lloyd Webber musical, following its press night on TuesdayAwarding the show three stars, The Times’ Dominic Maxwell wrote: ‘It features a star turn from Sam Ryder as Jesus that shows the long-maned Eurovision livewire at his charismatic best when in full song – Gethsemane is sensational, a one-man rock opera that prompts an in-show standing ovation – but wooden when having to silently find his place among the ensemble.’It’s not the miracle that Evita was: style doesn’t shimmy with substance in quite the same way. Yet while you may scratch your head at what is happening sometimes, you’ll be happily tapping your foot at the same time.’Dominic Cavendish in The Telegraph praised the show, awarding it five stars, and writing: ‘For a moment, you worry that Ryder is too meek and mild a hero, even anodyne. But daring us to be disappointed tallies with the show’s accusatory argument about the pressures of showbiz expectation. ‘And that achieves a blistering pay-off in the climactic title number, its infectious gospel energy offset by the visceral spectacle of a bloodied Christ being assaulted.’The Radio Times’ Olivia Garrett praised the show in her five-star review, writing: ‘If his version of Gesthemane wowed you at the Big Night of Musicals, just wait for this. ‘In all my theatre visits I have never actually seen a standing ovation after a single song, but boy, is it deserved. All I can say is I hope this is just the start of his musical career.’If my, admittedly, slightly-worshipful tone doesn’t convey it enough, let me be blunt: This show is simply glorious. Go see it instantly and then go see it again.’The Daily Mail’s Patrick Marmion awarded the show four stars, writing: ‘It’s as if the characters simply take turns – and Ryder’s gentle Jesus, who is at first a little meek and mild, has to wait patiently for his turn. Jesse Tyler Ferguson took to the stage as King Herod, though a string of stars including Richard Armitage, Michael Ball and Matt Bomer are set to alternate the role during its run After his acclaimed turn at the press night, a beaming Sam posed for snaps with his co-stars Jesse and Tyrone Huntley Myleene Klass was among the stars in attendance for the press night performance, posing for snaps in a white spotted dress’His falsetto vibrato has a few outings, but it’s not until he gets to his dark night of the soul in Gethsemane (after the interval) that he gives his full Whitesnake. ‘It’s the crucial storytelling mid–range that I missed, his delivery feathery and sometimes blurred.’Writing for londontheatre.co.uk, Marianka Swain gave the show five stars, writing: ‘This Jesus’s totemic power fuels delirious worshippers, alarms his detractors, and becomes a burden for the increasingly lonely man himself. ‘Ryder beautifully conveys that anxiety, and is very affecting in the show’s harrowing final stages. He also wows with his astonishing falsetto in Gethsemane, though needs to articulate the lyrics more clearly.’Alice Saville in The Independent gave the show four stars, writing: ‘As Jesus, Ryder looks the part, and more than sounds it, too – without having the acting experience to show us this monumental figure’s inner struggles. ‘But perhaps that’s fitting for a story that leaves the details of Jesus’s fate deliberately ambiguous, and that unfolds with its own logic, like a lucid dream. ‘Just follow Mary Magdalene’s advice – ”Close your eyes, and relax” – and you’ll sink into the glorious sounds of a voice that’s achieved divine status.’Sam rose to fame when he finished runner-up at the Eurovision Song Contest in 2022, bringing an end to the UK’s poor run of form in the contest.The singer landed the gig after amassing a huge TikTok following, and since then has gone on to perform at The Queen’s Platinum Jubilee concert and released a chart-topping album.But Sam has previously shared he struggled with depression in the wake of his Eurovision stint, and last year he released his first album independently after parting ways from his record label.He told The i Paper: ‘You paint a picture in your mind that you’ll never know peace in those moments, and all you want is peace, and you don’t know what that is. I’m not saying I would ever, God forbid, act on any impulses like that. ‘But the point I’m trying to make is every human that goes through things like that has the unthinkable float through their head, even for a snatch of a moment. ‘But doing so still pollutes you, because you’ve entertained emotions that life is dark and I’ll never make it out of this. Then it’s like, ”Where did that come from? I’ve never felt that in my life.”’ Jesus Christ Superstar: What the critics think The Daily Mail, Patrick MarmionRating:’It’s as if the characters simply take turns – and Ryder’s gentle Jesus, who is at first a little meek and mild, has to wait patiently for his turn.’His falsetto vibrato has a few outings, but it’s not until he gets to his dark night of the soul in Gethsemane (after the interval) that he gives his full Whitesnake. ‘It’s the crucial storytelling mid–range that I missed, his delivery feathery and sometimes blurred.’The Times, Dominic Maxwell Rating:’It features a star turn from Sam Ryder as Jesus that shows the long-maned Eurovision livewire at his charismatic best when in full song – Gethsemane is sensational, a one-man rock opera that prompts an in-show standing ovation – but wooden when having to silently find his place among the ensemble.’It’s not the miracle that Evita was: style doesn’t shimmy with substance in quite the same way. Yet while you may scratch your head at what is happening sometimes, you’ll be happily tapping your foot at the same time.’The Telegraph, Dominic CavendishRating:’For a moment, you worry that Ryder is too meek and mild a hero, even anodyne. But daring us to be disappointed tallies with the show’s accusatory argument about the pressures of showbiz expectation. ‘And that achieves a blistering pay-off in the climactic title number, its infectious gospel energy offset by the visceral spectacle of a bloodied Christ being assaulted.’The Radio Times, Olivia GarrettRating:’If his version of Gesthemane wowed you at the Big Night of Musicals, just wait for this. ‘In all my theatre visits I have never actually seen a standing ovation after a single song, but boy, is it deserved. All I can say is I hope this is just the start of his musical career.’If my, admittedly, slightly-worshipful tone doesn’t convey it enough, let me be blunt: This show is simply glorious. Go see it instantly and then go see it again.’Londontheatre.co.uk, Marianka SwainRating:’This Jesus’s totemic power fuels delirious worshippers, alarms his detractors, and becomes a burden for the increasingly lonely man himself. ‘Ryder beautifully conveys that anxiety, and is very affecting in the show’s harrowing final stages. He also wows with his astonishing falsetto in Gethsemane, though needs to articulate the lyrics more clearly.’The Independent, Alice SavilleRating:’As Jesus, Ryder looks the part, and more than sounds it, too – without having the acting experience to show us this monumental figure’s inner struggles. ‘But perhaps that’s fitting for a story that leaves the details of Jesus’s fate deliberately ambiguous, and that unfolds with its own logic, like a lucid dream. ‘Just follow Mary Magdalene’s advice – ”Close your eyes, and relax” – and you’ll sink into the glorious sounds of a voice that’s achieved divine status.’