REVIEW: JESUS CHRIST SUPERSTAR — Steel City Reviews

The first musical created with the collaborative efforts of Sirs Andrew Lloyd Webber and Tim Rice to be produced for the professional stage, Jesus Christ Superstar has wowed audiences for over 50 years. A timeless work, the biblical rock opera is set and seen, in an unusual perspective, through the eyes of the infamous Judas Iscariot. The show was met with criticism and backlash from critics and religious groups alike thanks to its use of rock music and implied romantic relationship between Jesus and Mary Magdalene in the story. Others were upset by the show's sympathetic view of Judas, and some felt that the story was denying Jesus' divinity by portraying the role as doubtful, fearful and, at times, angry. Over time, these criticisms lessened but the show has always remained controversial.

Jesus Christ Superstar is performed through CCPAC’s PASSION PROJECT COMPANY and this production, directed by Zachary Viola, keeps that controversial spirit alive with its gender-swapping casting choices for several roles. That decision shines a light on how society continues to hold onto dated concepts of gendered roles and diversity in general. Obviously, not every musical can be successfully gender-swapped but Jesus Christ Superstar lends itself fairly well to the concept and the passion presented by these performers combined with the stunning visuals throughout will give audiences plenty to consider and continue to change perspectives on what was once considered a blasphemous piece of musical theatre.

There is a great deal to be awed by in this production. The set, first and foremost, is incredible and its thrust design brings the audience as close as we can get to the action on stage. There’s hidden details within the design as well, foreshadowing what’s to come. The lighting design is equally impressive and sets a moody atmosphere throughout. The costumes allow the time period to feel ambiguous enough while paying homage to the original 1970’s aesthetic with glittery, disco inspired pieces. All of these design and technical elements are further heightened by the jaw-dropping performances of the entire cast. The vocals, honed with care by Vocal Director Jacob Rushton, showcases the dynamic talents from every individual on the stage. At times, there seems to be competition against the music tracks and teeters on being too loud (even for a rock opera) but thankfully, this is not a consistent issue.

Our leads of Judas (Danielle Viola) and Jesus (Emma Bergin) are the very definition of powerhouse vocalists and while much of Jesus Christ Superstar is known for its demanding range for the two leads, it maintains its impact sung by female vocalists, including the famous G5 belt efffortlessly delivered by Bergin in “Gethsemane.” One can only imagine the care needed to ensure their vocals remain strong and convey the appropriate emotions through song. Some more exploration of the relationship between these two would have proved helpful so that the concerned viewpoint from Judas isn’t lost to overwhelming animosity from the start. Showing the build of tension between them would have lead to a more believable payoff in the second act with Judas’ decisions. We also see more of Jesus’ perspective of this narrative rather than Judas’ which was a fascinating and often unexpected creative decision by the director. Overall, it works, which allows the audience to gain better understanding of two equally fated individuals and how connected they are to one another.

The portrayal of Mary Magdalene is played with warmth and charm by Diana Moser. Moser plays the role less romantically driven and more devoted would-be disciple in this production and that decision works very well here. Her vocals are impactful and she hits the emotional beats beautifully throughout, especially in “Could We Start Again Please?” (alongside Zoe Bonk). Again, some character development in her earlier scenes would have made the moment she decides to fully commit to Jesus and his movement more profound in “I Don’t Know How to Love Him” but it is refreshing to hear the song coming from a place of devotion rather than romance.

Other standout moments include the efforts from Jameson Mosher (as slimy Annas and conflicted Pontus Pilate respectively) and the cameo role to end all cameo roles is RJ l’Anson’s King Herod who is an enthusiastic and devious delight, offering a reprieve from the melodrama nearing the end of the second act. Judas’ death, the trial scene and finale are intense, as to be expected, and there’s more creative choices here that lend a fresh understanding to the story of Jesus and what sacrifice truly means. Bergin delivers her best work here with no words but pure emotion. Bravo.

Jesus Christ Superstar has had over 50 years of effectively telling the story of the life of one person who defied authority with messages of acceptance, love and community. Those messages exist to this day and speak to the vision of this company. Curtain Call’s production tells the classic story while offering fresh perspectives and asking audiences to see beyond who is playing what role and focus on the message. If passion is part of that message, this production has it in spades. Don’t miss it.

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