Review: 'Jesus Christ Superstar' at Connecticut Repertory Theatre

Pictured above: Alex Prakken (Jesus) and Ryan Vona (Judas) and the apostles in “Jesus Christ Superstar” by Andrew Lloyd Weber, onstage at Connecticut Repertory Theatre through July 22. Tickets at crt.uconn.edu or 860-486-2113.

Dedicated to Stuart Brown, Dean of Students at University of Connecticut Waterbury, playwright and Connecticut Critics Circle webmaster who keeps me on my toes

Storrs, CT - The Connecticut Repertory Theatre, the mighty theatre on the UConn Storrs campus, opened their with a far from disastrous production of Seth Rudetsky’s DISASTER, followed by a frightfully good version of SWEENEY TODD The Demon Barber of Fleet Street. The stellar 2018 Nutmeg Summer Series closes with JESUS CHRIST SUPERSTAR.

The show that is in my opinion the best music written by Sir Andrew Lloyd Webber with lyrics by Tim Rice is one that I have seen many times beginning when I was still a teenager. I can brag that I know every lyric and note by heart as a result of listening the “Brown Album” ad infinitum. More than one of my readers has commented that I notice “everything,” so be forewarned that I will notice everything even more than usual while reviewing this show.

Terrence Mann, the artistic director of CRT, directed the final show of his second season at UConn, straight off the heels of playing the title role in SWEENEY TODD. The talented singing actor had a strong vision for JCS, which struck me as a cross between the 1973 film version and traditional rock opera setting. The actors entered from the points around the house in mid-sixties garb and changed into more biblical garb in muted tones. Pants for the ladies in the ensemble replaced shapeless tunics and veils in the costumes designed by Fan Zhang. Tim Brown designed the two level set that was masterfully lit by Doug Harry, with effective backlighting and some darkness that added to the somber mood. Sound design that included the sound of a strong wind by Michael Vincent Skinner worked well except when Simon’s mic dropped out during his solo on “Simon Zealots.” He persevered.

It was interesting to see Pilate be a part of the overture. I liked when the ensemble froze in place during a few scenes and there were some lyrics that were delivered as spoken lines. I also noted some sublime extended harmonies at the end of the first act as well as some additional harmonies at other unexpected points.

The choreography of Christopher d’Amboise, the son of Jacques d’Amboise, set a new high for this ensemble of JCS. Whether dancing with spear-like staffs and giving “Simon Zealots” a distinctly military tenor or staggering their entrances into the next dance move, I will not soon forget this stunning choreography.

Music Director Bryan McAdams sat on stage to conduct the fabulous orchestra. What they lacked in numbers they made up for in commitment. I was glad to see that the expanded version of “Trial Before Pilate” was included and I love when the plaintive tones of “Could We Start Again Please?” are sung by the ensemble. There were a few lyric changes that I noted that were minor in nature.

Equity members led the cast. Jonathan Cobrda returned to CRT to play Pontius Pilate in royal purple. He quietly sang about the foreshadowing he saw in “Pilate’s Dream” and turned up the volume in his musical interactions with Christ. Alex Prakken (NEWSIES on tour made his CRT debut in what he calls “the role of a lifetime.” The University of Michigan grad gave the son of God a human sensibility and while his louder lyrics were not ear-splitting, I hope the actor goes on vocal rest between performances.

Ryan Vona, who I saw as Seymour is LITTLE SHOP OF HORRORS at Sharon Playhouse, was outstanding in the role of Judas. Mr. Vona, who was in the final company of ONCE on Broadway, began the show with a strong “Heaven on Their Minds,” to this reviewers mind the only way the rock opera should open. I always pay attention to how the director chooses to stage Judas’ hanging; rest assured that this one that featured a large rope held by ensemble members and was effective.

Griffin Binnicker, a rising senior at the University of Michigan who made his CRT debut as Maury in DISASTER, played a relatively grounded King Herod with a full length mirror and four chorus girls and two guys. Sasha Renae Brown, who is earning a Musical Theatre degree at WCSU and was in the DISASTER ensemble, took on the role of Mary Magdalene and did very well with it.

Tyler Brigsby, a senior at the Hartt School, made his CRT debut in the bass range role of Caiaphas and sported the requisite black puffy headgear. UConn MFA candidate Bryan Mittelstadt took on the tenor role of high priest Annas in an equally tall hat. Simon Longnight (DISASTER, NEWSIES, 1776) recently graduated from the University of Michigan and did very well as Simon Zealots, despite the sound issues.

The young ensemble included Will Bryant (NEWSIES and 1776 at CRT) who played Peter, Jamie Colburn (1776,) Madeline Dunn (Asst. Choreographer,) Annelise Henry, Michael Katz, UConn graduated Nick Nudler, Jovick Pavajeau-Orostegui, Hayden Elizabeth Price (DISASTER,) Paige Smith (NEWSIES, 1776,) and Allesandro Viviano.

Michael Katz, who appeared in THE DROWSY CHAPERONE, EVITA and COMPANY at Western CT State University where he will be a junior, was also in the ensemble. Added to ensemble was recent WCSU graduate Shaylen Harger (one of the Evitas in EVITA, the chaperone in THE DROWSY CHAPERONE, COMPANY all at WCSU)

I recommend this production to anyone left in my generation that has not seen this rock opera and certainly to anyone young enough not to remember its origins but who enjoyed the recent television concert. Tickets are on sale at crt.uconn.edu or 860-486-2113.

Nancy Sasso Janis Photo by J. Timothy Quirk

Nancy Sasso Janis has been writing theatre reviews since 2012 as a way to support local theatre venues. She posts reviews of well over 100 productions each year. In 2016, she became a member of the Connecticut Critics Circle. She continues to contribute theatre news, previews, and audition notices to local Patch sites. Reviews of all levels of theatrical productions are posted on Naugatuck Patch and the Patch sites closest to the venue. Follow the reviewer on her Facebook pages Nancy Sasso Janis: Theatre Reviewer and on Twitter @nancysjanis417