Theater Review: 'Jesus Christ Superstar' by Fairfield Center Stage

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

The nomadic theater group Fairfield Center Stage is presenting a production of the rock opera “Jesus Christ Superstar” unlike any that I have seen. Because it is one of my all-time favorite shows, I have seen many versions throughout the years and recently I have been blessed to have performed in two different productions.

What makes the FCS production unique is that this is an all-female presentation of the iconic Andrew Lloyd Webber/Tim Rice musical. The diverse cast is directed and choreographed by Todd Santa Maria, with music direction by Eli Newsom, who also is the executive producer.

Artistic Director Christy McIntosh-Newsom expresses her gratitude to the large group of powerhouse women that share their time and talent to “bring #shesuschristsuperstar to light. “Some of these lyrics hit differently from the point of view of mothers, sisters, wives, caretakers and girlfriends.”

The director took this strong vision of the musical and ran with it, with admirable casting, plenty of high-energy dancing and tremendous vocals. The overture explodes with dancing, Judas’ death and the Crucifixion are stunning and it all ends with a tableau. I feared that melodies would be switched for female ranges (only sparingly,) or the tone would be too dark (it wasn’t.) It had an overreaching female empowerment tone while retaining the biblical tale told from the point of view of Judas.

I am a self-professed “JCS” snob, so I took a fishing boat full of notes in the dark during the performance.. I won’t bore my readers with all of them, mostly because I can’t read most of them. Notably, the lyrics have not been changed to female pronouns, nor has the word “man” been eliminated.

Maggie Meath returns to this troupe to lead the cast in the title role of Jesus and sings magnificently. Meath has appeared in all ten of the FCS Rocks concerts, including the recent “American Idiot” and performs with two local bands. In her FCS debut, Jenny Maso takes on the role of Judas (“Heaven on Their Minds,”) making the role very human. Hailey Stevenson returns to FCS to play a dream role, that of a lovely Mary Magdalene; she gracefully performs the showstopper “I Don’t Know How To Love Him.”

Lindsay Johnson is a strong Simon and Karina Brea makes the most of the role of the brash Peter. Julie Lloyd, who has taken on the role of Alison in “Fun Home” twice, makes Pilate both human (“Pilate’s Dream”) and overwhelmed (“Pilate and Christ.”) Marcelle Morrisey is a golden version of King Herod, sparkly and quite amusing. (“King Herod’s Song” backed by four dancers) Morrisey teaches fourth grade by day and runs the theater program at Joel Barlow and several other high schools in Fairfield County, “proving that stamina is a skill and sequins are a lifestyle.”

As for the evil ones, veteran Connecticut performer Marilyn Olsen takes the role of Caiaphas to another level, swirling a black cape with an evil smirk. In her return to FCS, Maggie Kruse uses her upper ranges to sing the tenor role of Annas and maintains her malicious glare throughout her performance. Lisa Dahlstrom also returns to this troupe to play another of the high priests.

Young Melody Newsom, a kindergarten student, gets to run on for one scene as “Girl who Loves Jesus.” She follows in her brother’s footsteps, who played Boy Who Loves Jesus when he was three years old.

Since “JCS” depends heavily upon a stellar ensemble, I will list every name of the multi-aged group that has a lot to do. Dr. Sonya Alexander steps up to play flute for one number in her FCS debut and the multi-talented (and Connecticut Critics Circle member) Kiersten Bjork, who played Judas in the Arts at Angeloria’s production, understudies both Jesus and Judas because she can. Also in the ensemble are Lisdsey Anderson, Sue Berry, Olivia Dallape, Nicole Ferris, Emily Frangipane, Jacqueline MacLean, Sarah McCormack, Najlaa Noonan, Brianna Parkin, Elissa Ranney, dance captain Jennifer Turner and Sadie Walker.

The seven musicians, most of whom are not females (but not for lack of trying,) are seated stage right and made every note sound gorgeous, especially Mac Johnston’s line on the violin. The music director conducts the pit and plays keyboard 1.

This is the second time that I have seen a performance of “JCS” presented in the sanctuary of a church and it definitely adds another layer of realism. St. Timothy’s lends itself to the immersive vision, with the cast employing all of the aisles as well as the entire altar space at the front of the church..and even the altar itself. Backlighting the center aisle for some entrances of the characters is most effective. The artistic director acknowledges their hosts at St. Timothy’s and their partners at St. Paul’s for “their support and letting us literally crawl all over this sacred space!,” for that is exactly what they do.

Kevin Pelkey worked as the set designer of a set that takes full advantage of the existing space. Lighting designer Don Rowe carefully illuminates each of the scenes. Sound designer Chris Gensur worked well within the confines of the church space. Holly Corso worked backstage as the stage manager.

Kudos to costume designer Melissa Kennedy for strong looks for all of the women.

“JCS” is presented without an intermission and runs about 95 minutes. Performances continue at St. Timothy’s Campus of St. Paul’s Episcopal Church (4670 Congress Street) in Fairfield through March 28. Get your tickets now at bit.ly/JCSFairfield fairfieldcenterstage.org

All rehearsal photos courtesy of FCS