Theater Review: 'Jesus Christ Superstar' at Goodspeed Musicals

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

Goodspeed Musicals has brought the iconic “Jesus Christ Superstar” to their jewel box theater in East Haddam. The rock opera is famous for the music written by Andrew Lloyd Webber and lyrics by Tim Rice.

The Goodspeed production is directed by Tatianna Pandiani with choreography by Amy Campbell.

I don’t deny that I am a long-time “JCS” snob, having seen countless productions of what is probably my all-time favorite show. I memorized every lyric from the Brown Album, the source concept album so I notice even minor changes. Moreover, I have recently appeared in two different community theater productions of the show as Maid by the Fire. To say that I enter any production with extremely high expectations is an understatement.

The Goodspeed production starts strong, with many directorial choices that enhance the first act. For the top of the show, the floor of the extended stage is covered in sand, essentially adding another character to scenes in Jesus’ life before the Last Supper. The actors grab handfuls of the sand to slowly release back to the ground and somehow dance the often-challenging choreography (with lifts) upon the sandy floor. Some bring out rugs for “What’s the Buzz,” and Jesus' followers parade across the stage for “Hosannah.” I liked the costume changes for the ensemble members in “The Temple” and the syncopation of the pared down lepers' scene, with some effective shadows in the lighting.

The notes that I took after the intermission became more copious and less positive as the second act unfolded. Some blocking choices struck me as odd, while others might have been required by the smallish stage. The apostles froze into what I saw as a dancer’s pose during “The Last Supper.” There were no sleeping apostles on the stage when Jesus indicated “Peter, John, James” in “Gethsemane” and we saw soldiers question Jesus about how he felt during “The Arrest.” The small crowd in Bohemian attire are behind stanchions as The Mob and a very loud King Herod seems to be having a tantrum in front of Jesus.

There was too much of the ensemble singing offstage for my taste and a few spoken lines that should have been sung. “Judas’ Death” was depicted with a long rope across the stage that didn’t really make sense to me. The violence was increased in “Peter’s Denial” and soldiers literally pushed Mary away from Jesus’ body. Jesus crucified rose straight up, but there were chains attached from the side. I did enjoy the energy in “Superstar,” filled with gold, angel wings, rousing choreography and Judas (mostly sliding) on a gold electric guitar.

It was previously announced that at this press matinee, the role of Jesus of Nazareth that is usually performed by Justin Matthew Sargent would be performed by Jack Hale. The actor, who was born and raised in Anchorage, AK, played the title character with conviction. It was a great opportunity for Hale to show off all the hard work he had put into learning to sing this demanding role. He showed off his great singing voice in the haunting “Gethsemane.”

Judas Iscariot is the equally important role in this version of Jesus’ passion. Austin Lesch sings the role well, navigating the betrayer’s “trials and tribulations” with twitchy movements. Stephanie Zaharis becomes the beautiful Mary Magdalene (“I Don’t Know How to Love Him.”)

The role of Peter, usually played by Hale, was covered by Jordan Alexander. Deven Kolluri is a strong Pontius Pilate, commanding the role of the ruler who has a premonition in “Pilate’s Dream.” Garrick Vaughan plays the rabblerouser Simon who shines in the rally that is “Simon Zealotes/Poor Jerusalem.”

Jamari Darling, with a fine bass singing voice, commands the stage as the high priest Caiaphas, with ensemble members Elijah Dawson and Michael James playing the priests. Kevin Trino Perdido gives an interesting comic take on the role of the tenor high priest, Annas.

Ensemble Nicholette Antonia Shin has a unique take on the role of King Herod in her gender bending performance. She has four dancers that back her up as she sits on a swing to taunt Jesus in “King Herod’s Song.” Talented ensemble members Eleni Kontzamanys, Thabitha Moruthane join Shin as golden Soul Girls.

The important music direction by Adam Souza, who plays keyboard 1, rises to the level that the score demands. It was a pleasant surprise for me to discover that native Nathaniel Zembruski holds the position of associate music director while playing keyboard 2. Seven other musicians cover the performances, with eight others credited as musician alternates.

The thoughtful costume design by Siena Zoe Allen is firmly based in the 70s and the outfits flow nicely, working especially well with the sandy stage of the first act. There are wig, hair and makeup designs that further reflect the era. The sleeves on Pilate’s black costume are fabulous, and I loved the black robes trimmed in silver by rank with smallish headgear for the high priests. Mary Magdalene is dressed in soft orange velvet.

The scenic design by Riccardo Hernandez is fine and there is good lighting designed by Cha See. There are some realistic props for the noisy temple scene and signs for “Simon.” Jay Hilton pulled off the sound design that allowed the live music to make its way upstairs.

Overall, this production is very strong musically, with some debatable choices in the technical aspects of this show that I love. Now playing through June 7. bit.ly/4vTxCTt