“What’s the Buzz” about “Jesus Christ Superstar” at Ritz Theatre Company?
by Amber Kusching
What’s the buzz? The first musical by Andrew Llyod Webber and Tim Rice to be produced for the professional stage, “Jesus Christ Superstar” has wowed audiences for over 50 years. A timeless work, the rock opera is set against the backdrop of an extraordinary and universally known series of events but seen, unusually, through the eyes of Judas Iscariot. Loosely based on the Gospels of Matthew, Mark, Luke and John, “Jesus Christ Superstar” follows the last week of Jesus Christ’s life. The story, told entirely through song, explores the personal relationships and struggled between Jesus, Judas, Mary Magdalene, his disciples, his followers, and the Roman Empire.
The show originated as a concept album before it got funding for its Broadway premiere in 1971. It was also the longest-running musical on London’s West End until it was dethroned by “Cats” in 1989. This beloved musical was adapted into a film in 1973 and again in 1999 with an additional live concert broadcast in 2018 on Easter Sunday featuring John Legend as Jesus and Sara Bareilles as Mary Magdalene.
The Ritz’ production, directed by Edwin “Rico” Santiago, is a self-proclaimed passion project for the director. Santiago writes in his Director’s Note that “’Jesus Christ Superstar’ stands as the single most pivotal and transformative experience of my life” after he was originally exposed to the musical when he was seven years old.
A major feature of this musical is its modernity. The show uses slang words and is often staged with current production elements such as costume and set design. The Ritz’ production’s set, by William Bryant, is a melodic blend of contemporary and classic architecture featuring pillars and scaffolding. And though the set is skeletal, it is utilized well in Santiago’s staging. The set reflects the context of the show: a modern retelling of the story of Jesus Christ.
The set is lit by Jen Donsky’s brilliant lighting design. The lights change color with the mood of the songs, often going from blue to white to red and are most stirring in the song “Gethsemane”. The costumes, designed by Megan Iafolla, like the set, are also modern with the ensemble, Jesus, Judas and Mary in casual street attire while Pilot, Herod, and his gang are in more formal suits.
But the set, lighting and costumes would be nothing without the actors in them. Santiago’s casting is commendable. All the actors, from the leads to the members of the ensemble, are strong, committed performers that really bring this historic story to life in the modern world.
This show is all about the music, and is almost completely sung through. The cast, especially CJ Mooney as Judas, William Bryant as Jesus, Emily Rooney as Mary Magdalene, all under the fabulous music direction of Deborah Bergen, bring passion to the Passion. Most notably are Mooney’s rendition of “Judas’s Death”, Bryant’s “Gethsemane”, and Rooney’s version of the famous “I Don’t Know How to Love Him”. Mooney, Bryant and Rooney have strong chemistry onstage, and their characters’ respective troubles are clearly depicted. Through strong storytelling, and impeccable acting, this trio is only the beginning of praise-worthy performances. Every member of the cast has a clear character arc, commendable acting chops and singing voice. Even the ensemble has clean and clear harmonies in large group numbers.
Thomas Stone gives a riveting performance of Pontius Pilot, acting expertly through the arc of Pilot’s original hesitancy to crucify Jesus through giving into the crowd’s demands after Jesus refuses to defend himself. Joe Mooney as Caiaphas and Shane Barrett as Annas have impeccably captivating singing voices, and work seamlessly together as Pilot’s henchmen. Diego Subero-Butler is heartbreaking as Peter when he denies Jesus three times, as Christ predicted, and his harmonies with Rooney are touching in “Could We Start Again Please”. Taylor Molt as Simon Zealotes also proves her singing is advanced in the song “Simon Zealotes” where she showcases the reason for Simon’s namesake as a zealot. And John Jackowski is hysterical as King Herod, giving some much-needed laughs during a heavy point in the play. His song “King Herod’s Song” is definitely a highlight of Act Two.
The show also features an ensemble of strong singers and movers who play multiple roles throughout the show and hold the show together. Each ensemble member also has a clear character arc and they all shine brightly. The ensemble members include Sarah Bastian, Julia Bisignaro, Audrey DiEnno Lacroce, Elizabeth Doerrman, Susan Landis Eley, Emily Gulden, Evan Hairston, Aneesh Kanthan, Patrick King, Isaac Lindy, Zach Martin, Krista Reinhardt, Jennie Santiago, and Giovanna Velino.
A key element of the Ritz’ production is its live band. The band is present onstage and incorporated into the set design of the play. In the live pit are Deborah Bergen on keyboard, Eric Madman on guitar 1, Kevin Buzby on guitar 2, Mark Petti on bass, and Derrick Banks on drums. Having a live band brings a lot of charm to the production. The score itself is very catchy and the cast has fun jamming out to the tunes. As an audience member, I often found myself grooving along with them.
Much of the music is upbeat and danceable, especially the titular song “Jesus Christ Superstar”. Choreographer Jennifer Gordon’s moves throughout the show are simple but effective, but shine most brightly in this number. Andrew Lloyd Webber decides to lead us into Christ’s crucifixion with this upbeat song. And I particularly enjoyed Iafolla’s costume concept for this number with Judas wearing a sparkling blazer and the ensemble in bedazzled T-shirts with angel wings.
Other modern elements of this production include projections onto the set of current events, the use of red solo cups for the Last Supper, the handling of phones throughout the show, and a nod to “The Godfather” in “King Herod’s Song”.
“Jesus Christ Superstar” focuses on the humanity of Jesus. In the song “The Temple”, when confronted with a crowd of sick people, Jesus cries out “There’s too many of you. Don’t push me. There’s too little of me. Don’t crowd me. Heal yourselves!” and in Gethsemane questions his fate as he sings “Why should I die? Would I be more noticed than I ever was before?” However, the play is not blasphemous or offensive. “When the opportunity to direct arose, I sought insights from family, friends, religious leaders, and colleagues, sharing my vision of portraying Jesus’ humanity alongside His divinity, as well as Judas’ internal conflict between desire and obligation.” Santiago mentions in his Director’s Note.
“I emphasized the urgent need for the messages of peace, love, and acceptance in today’s world.” Santiago writes. It is clear that he put care into this production and had a very clear vision. It is an evening of fun and insight leading to not only catchy songs stuck in your head, but perhaps a more meaningful reflection on the world and your beliefs.
“Jesus Christ Superstar” plays now through September 29th at Ritz Theatre Company in Haddon Township, NJ. For more information and to purchase tickets, please visit: https://www.tix.com/ticket-sales/RitzTheatreCo/6520
