The sharp, extravagant and lovable cabaret performer Reuben Kaye, has found the perfect segue into musical theatre – as Jesus Christ Superstar’s King Herod! He talks to me about this amazing role.
How is the Jesus Christ Superstar experience treating you?
It’s been a huge adjustment coming into an established show with the structure and discipline of musical theatre, especially considering how loose and spontaneous my shows are. But I’m having a whale of a time! I’ve stepped into something regimented and repetitive that also needs to stay fresh and fun every night. I’m lucky because Herod is a role where I can let loose for five minutes and then fuck off. They even let me redesign the costume and makeup. I’ve crafted it in allegiance with the creatives to make it something new while following in the footsteps of artists such as Reg Livermore, Julian Clary and Alice Cooper!
And Herod’s entrance is such a showstopper.
It’s the headline slot and a very big angle shift because, spoiler alert, the rest of the show is dark! We’re dealing with the last week of Jesus’ life, and it doesn’t end well for the poor guy. So, it’s a good choice for this character to come in and shake things up. He gives the audience a chance to breathe, relax and have a laugh. Weirdly, I can break the fourth wall and let the audience know I’m one of them looking in, instead of being in the show looking out – if that makes sense!
I wanted to take the costume from camp into the slightly more earthy darker sides of queer culture with fetish, kink and Tom of Finland.
Michael Paynter as Jesus is a bit of a showstopper too.
I am amazed every night with how many people are on their feet at the end, but also in the middle when Michael Paynter sings Gethsemane. He’s a bloody revelation! He’s an AFL Jesus, I mean, you’re never going to find a Jesus with cum gutters like his! And he has a phenomenal voice. But the worst part is that he’s a lovely human being as well! I can’t stand people who are gorgeous, talented AND nice. I mean it makes me look bad. I’m trying to pay him to kick a puppy in public!
Reuben Kaye portrait Century Artists – Claudio Raschella
Can you explain more about creating your costume?
I thought the costume was gorge, but I wanted to amp it up even further. They even let me have a chat with Tom Scutt, who designed the show – and had just won the Tony Award for Cabaret. I wanted to take the costume from camp into the slightly more earthy darker sides of queer culture with fetish, kink and Tom of Finland. I went through many different iterations, and when I had my arse completely out, they said, “Reuben, it’s Jesus Christ Superstar we might have to draw the line at your arsehole!” I got away with a hell of a lot, and I think it was amazing of them to go with it all.
Speaking of showstoppers, what about Michael Paynter’s voice?!
Michael Paynter’s voice is just outrageous. It’s like he’s done a deal with Satan, which makes me think I missed out! I mean, obviously, I’m supremely talented and a standout, but Michael is iconic. Then there’s Mahalia Barnes, who’s taken time out from singing with Cold Chisel and Javon King playing Judas. I don’t know what they would have done if they didn’t find these three people. This musical has a reputation for being a talent showcase, and they are a powerhouse of vocals. Then there’s Adam Noviello, a pop star in their own right with an outrageous voice, who alternates Herod with me, and Robert Tripolino, who alternates as Jesus. What a dreamboat he is! He has the most soulful eyes. I’ve already fallen in love with him. I’ve gone into the seven stages of grieving for the man I shall never have! They are all supremely talented and work ten times harder than I do in this show.
Reuben as King Herod. Photo: Jeff Busby
Michael also has puppy dog eyes.
Yeah, but Michael’s puppy dog eyes sometimes look like an Alsatian who’s hungry for a bone!
Me and my thoughts on religion are very clear, but this narrative is amazing, and so is the way the music tells the story.
There seems to be a lot of love in this show!
There’s a thing about this show that is very subtle and raises the question of whether this is a story of friendship or a love story. Is it the unrequited love of Judas for Jesus? Was it ever consummated? What is it to love someone who not only won’t love you back but can’t love you back? I think it’s a wonderful thing to explore in this.
It’s the original ultimate epic story, isn’t it? Predating the likes of Shakespeare, Lord of the Rings and Star Wars!
Yeah, it is, and it’s lasted through time. I’m an atheist, and I think we all know that. Me and my thoughts on religion are very clear, but this narrative is amazing, and so is the way the music tells the story. Our director, Tim Sheader, wanted to do this show, not because of the religious context but because of the music. I think there’s something inherently queer in this story and the way it’s been told. I think there’s something powerful in examining, as a society, why we build up icons and then are so quick to turn on them. Why is the mob so quick to elevate someone to the status of God and then be so complicit in their downfall? To cheer and celebrate the destruction of something we once loved, like a golden calf. In a way, Jesus in this show is like a rock star, and there’s a lot of food for thought. I couldn’t think of any other musical that would be more fitting and challenging for me. Herod’s role is vaudeville, standup, and cabaret rolled into one.
Reuben Kaye portrait Century Artists – Claudio Raschella
You won the 2024 Adelaide Cabaret Festival Icon Award. How does that feel?
That festival has given me so much over the years. I grew up in it and honed my craft as an artist. As a cabaret fan myself, I saw my icons there, like Paul Capsis and Meow Meow. The award is an honour I can’t put into words, and I received it from Virginia Gay, who I just adore. I’ve always felt like a little bit of an outsider in the industry, and I realised I would have to reform into the industry or form myself into something so valuable that the industry couldn’t say no to it. Cabaret has always been the bastard child that people view as cheap and easy. In truth, it’s the hardest of the art forms because it’s the one with the most autonomy and least structure. To be rewarded for this by the people I care so much about was a touching and beautiful moment.
Reuben Kaye portrait Century Artists – Claudio Raschella
Is cabaret gaining popularity?
People go through waves. One minute, they think, “Oh, cabaret? We don’t want any of that old shit!” Then, they come along and get a different view. They say, “Oh! What you do isn’t cabaret, it’s new and interesting”. But what I do is classic cabaret. It’s song and dance, telling stories and jokes. There’s just a different permutation of it that makes it a trend. But cabaret is always there because it’s a timeless art form and connects directly with people.
I couldn’t think of any other musical that would be more fitting and challenging for me. Herod’s role is vaudeville, standup, and cabaret rolled into one.
This is your first major musical role. Do you have your sights set on any others or even on dramatic theatre?
I never thought I’d get to the point where somebody would offer me a role in a large-scale musical because, on the surface, I don’t have the temperament and patience for it. I crave audience interaction, and I just want to be me. But now that I’m doing it, I’m finding ways through and seeing avenues opening for juicy roles. Frank-N-Furter from the Rocky Horror Show would obviously be a dream, but there are some amazing straight roles, too. I’d love to play Georges Seurat in Sunday in the Park With George. There’s some great Stephen Sondheim stuff I’d love to do. I also just saw August: Osage County at the Belvoir Theatre, and I’d love to play the daughter, just to say the line, “Eat the fucking fish!” every night.
Reuben Kaye portrait Century Artists – Claudio Raschella
And after Jesus Christ Superstar, you’ll be touring The Kaye Hole?
At the factory theatre for Mardi Gras and Perth Fringe World! The Kaye Hole is my post-apocalyptic punk protest party for the end of the world. It’s equal parts revolution and celebration. It’s a wild night where I wear so little clothing you are likely to see exactly what I had for breakfast, lunch AND dinner. The answer to that is ice chips and poppers! I’m so happy to share another incredible lineup of beautiful and terrifying performers. People who come to The Kaye Hole know exactly what to expect, and we’re raising the bar this year! For those who haven’t been before, come and have a great time – and make sure you douche first!
And The Party’s Over?
Yes, that’s my new solo show playing at the Enmore Theatre Sydney and the Melbourne Comedy Festival. It’s a dream gig and a bucket list moment to perform at the Comedy Theatre in Melbourne. The Party’s Over deals with the panic and fear we’re all experiencing and how it can unify us. It’s all original songs with me, the band and some old and new stuff. It’s a big mixed bag infusing different art genres and a totally different musical style. Dare I say it’s a more upmarket and more clothed experience for the more sensitive types!
For more visit: jesuschristsuperstarmusical.com.au
Follow Reuben on Instagram @reubenkayeofficial and reubenkaye.com
