Theater Review: 'Jesus Christ Superstar' by Connecticut Theatre Company

Review by Connecticut Critics Circle member and Naugatuck Patch neighbor Nancy Sasso Janis

Connecticut Theatre Company presented a production of my beloved “Jesus Christ Superstar” for two weekends on the stage of The Repertory Theatre in New Britain. I was grateful that the production team allowed me to attend one of the sold-out performances during the second weekend when the shows of the first weekend conflicted with my own.

Erin Campbell, Vice President of CTC’s Board of Directors, was excited to be back in the director’s chair for this production of the rock opera with music by Andrew Lloyd Webber and lyrics by Tim Rice.The director wrote in her program note that “at its heart, this is a story about people who are flawed, passionate, courageous, and searching for meaning, and that humanity is what makes this work as relevant today as ever.”

Campbell indicated that the production team embraced gender-blind casting, allowing them “to focus on the heart of each character rather than traditional expectations.The large and committed cast, along with the dedicated orchestra and creative team, earned the high praise from their director, who deemed this production one of the most emotional and rewarding experiences of her directing career.

The director shared her hope that each performance “not only entertains but also encourages reflection on the enduring themes of compassion, conviction, forgiveness, and love that make “Jesus Christ Superstar” such an unforgettable work..” Campbell’s vision highlighted the emotion inherent in this powerful story, with special emphasis on forgiveness, making the final scene memorable.

Music Director Nick Stanford conducted the musicians that squeezed into a platform above the stage, with Marc Sokolson on keyboard 2, Nate Dobas on drums and Tom Oliveira (Jesus in “JCS” at Arts at Angeloria’s.) While the band sounded great, I noticed a significant number of differences to the familiar score that to my ear were distracting. Tempos were different, phrasing was slightly off, and some singers manipulated the notes as needed. This may have been an issue only for those who have memorized this iconic score. However, no one can deny that when the ensemble sang together in full harmony they sounded like a wonderful choir.

Sincere congratulations to the choreographer Kim Saltman on the variety of dancing that accompanied many of the musical numbers according to the vision of the director. Starting with the overture, the ensemble performed wonderfully angular dance moves for the bigger scenes. Added to some of the quieter pieces were lyrical/modern female dancers from the ensemble to help tell the story. “Pilate’s Dream,” “I Don’t Know How to Love Him,” and “Could We Start Again, Please?” are not often seen with dancers. Some may have felt that there was too much dancing, but I found it beautifully executed.

I loved the look of the costumes designed by Paige Machnicz, a mix of rock band grunge, hoodies, black t-shirts marked “Security” and black robes for the high priests, eight shiny gold dancers, and all white outfits for “Superstar.” “The Temple Scene” was a bit small but the mob in “39 Lashes” was huge and effective.

Erin Leslie worked as Campbell’s assistant director and Max Dittmar served as props master. Erin Leslie designed the set, which included a cross for “The Crucifixion” that was outlined in white lights. The lighting design of the director contained a few inspired effects for important scenes.

Erin Aldrich, who studied classical voice at The Hartt School, returned to CTC to take on the role of Jesus Christ. Aldrich performed her role with a clear dedication. Jalon Copeland, an alumnus of CT State (NVCC) in his CTC debut, sang wonderfully in the role of Judas Iscariot.

Shannon Pesi did very well with the role of Mary Magdalene, reminding audiences in her bio that her character was never actually described in the Bible as a prostitute. Peter Bailey returned to the stage after nine years to tackle the role of Pontius Pilate in a royal purple and black. Shawn Murray returned to CTC to play Caiaphas, William Moro played the tenor Annas, and Dance Captain Ben Elling (“The Wedding Singer”) sang the role of Peter Simon.

Angelica Velez was credited as Simon Zealotes and a Soulgirl, while Dance Captain Aditi Verma and Theresa Moscato rounded out the trio. Cara Mackenzie stepped up to fill the role of King Herod and did well.

The talented multi-generational ensemble worked together perfectly as they often filled the stage and beyond. It was probably the largest ensemble I have seen at CTC, a troupe that consistently casts ensembles that are inclusive and well-rehearsed. The “JCS” ensemble included ten-year old Aria Bailey, Laura Bailey, Heather Bazinet in her CTC debut, Lisa Bynes, Anastacia Calos, Stephanie Carroll, David Cespedes, Dominica Delayo, Scooter Hauser, Katie Jones, Zenn Hunter Langley, Brian Michael Lopes, Stephen Maher, Christine McGuinness, Nicolette Pavain, Tim Plankey, Melissa Rand, Cheyana Rose, Piper Stepule, Kaylyn Terry, Julia Watras, Jakub Watras, and Sydney Yargeau. Many of these performers appeared in their first CTC show.

Congratulations to CTC on a most successful production of “Jesus Christ Superstar.” Watch for the upcoming “Carrie the Musical” and “La Cage Aux Folles” at CTC.