Review: 'Jesus Christ Superstar' Tour at The Bushnell

Dedicated to Bobbie, Heaven’s newest angel, and to those who mourn her loss

Hartford, CT - The 1970s rock opera JESUS CHRIST SUPERSTAR marks its 50th anniversary this year and the anniversary tour has stopped at The Bushnell in Hartford through March 1. The iconic musical has always been one of my favorites and I have lost count of how many times that I have seen it since the first time in the 70s; this touring production exceeded every one of my very high expectations. While it remained true to the original version, some contemporary tweeks brought it to a new level of greatness.

I should probably feel old knowing that it has been fifty years since I memorized the Tim Rice/Andrew Lloyd Webber brown album of JCS, but seeing the young dancers bring the beloved musical numbers to life somehow had the opposite effect on me. The high-energy dancing choreographed by Drew Mconie, excellent vocals by everyone on the stage, the orchestra that crushed the memorable score and everything else about the show made for a truly stunning 90-minute experience.

The lighting design by Lee Curran (with associate lighting designer Ryan O’Gara) had the feel of attending a rock concert without overwhelming the gravitas of the story of Christ’s final week on the earth. Tom Scutt designed the scenery featuring several cross motifs, in addition to the costume and hair design, yielding a cohesive look to everything on the Bushnell stage. David Allen and David Arsenault are credited as associate scenic designers, while Poppy Hall was the associate costume designer.

The featured actors shared handheld microphones, often on mic stands and once on cross-like props. Those used by the high priests effectively became a staff. The sound in the back of the theatre was fine but I couldn’t see if the rest of the cast were wearing body mics. The orchestra under the direction of music director Shawn Gough and associate conductor Matthew Croft did not overpower the voices and I noticed a few small changes to the arrangements that simply enhanced the well-known music.

Timothy Sheader directed the production with a very clear vision that gave the sung-through performance (wisely presented without intermission) a rock concert feel, making it a unique and very theatrical experience for everyone in the audience. There were some very modern metaphors sprinkled throughout, with gold glitter sprinkled the most literally, and sleeker costumes to accommodate the outstanding modern dance choreography. The fast-paced dance moves performed in perfect unison added an exciting element to so many scenes, although it took me a while to get used to watching the usually staid high priests doing choreographed moves during “This Jesus Must Die.”

Aaron LaVigne (SPIDER-MAN on Broadway, RENT National Tour) led the cast in the role of Jesus and accompanied himself on a guitar. James Delisco Beeks (KINKY BOOTS, AIDA on Broadway) managed to shine from his first note of “Heaven on Their Minds” straight through to “Superstar.” Jenna Rubaii (original cast of GROUNDHOG DAY) brought a crystal clear voice to the role of Mary and a gentle take on the role. Alvin Crawford (THE LION KING on Broadway) commanded the stage in his role as the chief priest Caiaphas, while Equity’s Tommy Sherlock, a member of the Tenors of Rock at Planet Hollywood in Las Vegas, stood out in the role of Pilate, especially during the trial he oversees. His “Pilate’s Dream” was accompanied by two of the actors on guitar and sounded amazing.

Tyce Green took on the high notes in the role of Annas, and he played guitar onstage as well. Mr. Green is also a runway model and can be seen on Season 18 of “Project Runway” on Bravo. Eric A. Lewis, who was in the Off-Broadway hit SPAMILTON, got to sing the wonderful solo of Simon during “Simon Zealotes.” Paul Louis Lessard stepped out of the ensemble to portray the flamboyant Herod in his national tour debut decked out in a magnificent gold and black cape. Tommy McDowell (first national tour of AMERICAN IDIOT) was Peter, and Sarah Parker was credited as a “Riot Girl.”

Brian Golub, Garfield Hammonds and Charles McCall were the first, second and third priests respectively. The Soul Girls backup singers included Keirsten Nicole Hodgens (also the vocal captain,) Sandyredd and Jasmine Schmenk. Peter’s accusers included Mr. Golub, Mr. Hammonds and Ms. Redd. Dance captain is Rebecca Kritzer and Derek Ferguson was the fight captain.

The talented dancer/singers in the ensemble included David Andre, Sara Andreas, Wesley J. Barnes, Derek Ferguson, Mr. Golub, Brittany Rose Hammond, Garfield Hammons, Ms. Hodgens, Sheila Jones, Rebecca Kritzer, Jacob Lacopo, Charles McCall, Danny McHugh, Equity member Pepe Nufrio, Ms. Parker, Erick Patrick, Sandyredd, Jasmine Schmenk, Clay Thomson, and Chelsea Williams.

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Nancy Sasso Janis, writing theatre reviews since 2012 as a way to support local venues, posts well over 100 reviews each year. In 2016, her membership in the Connecticut Critics Circle began and her contributions of theatrical reviews, previews, and audition notices are posted not only in the Naugatuck Patch but also on the Patch sites closest to the venue. Follow the reviewer on her Facebook pages Nancy Sasso Janis: Theatre Reviewer and Connecticut Theatre Previews and on Twitter @nancysjanis417 Check out the NEW CCC Facebook page.

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