Review

‘Jesus Christ Superstar’ is a shining star

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An impressive team of collaborators at the Rio Grande Theater offer us a polished, sometimes breathtaking production of “Jesus Christ Superstar.”

Composer Andrew Lloyd Webber and lyricist Tim Rice were rebellious twenty-somethings looking to make a name for themselves when they created the initial album 54 years ago. A huge step towards rock music overtaking Broadway, it was wildly controversial to some and enticingly edgy to others.

In 2025, the tools used to stir controversy or evoke edginess in a 1971 staging will no longer shock. Blank Conversations Theatre Company balances traditional approaches to the design with casting that defied expectations. The audience was rapt. Often, a neighboring audience member emitted a breathy “wow!”

Though the production’s design is customary, it is excellent. Costume designer Heather Striebel’s colors, fits, and juxtapositions are flawless. Melissa Munoz-Chavez’s striking scenic and detailed prop design are brilliantly complimented by Aaron Krohn’s compelling lighting. Highlights of the collaboration include superb shadow-play during “Pilate’s Dream” and the intention put into the book-ending opening and closing moments.

Another collaborative highlight is the cast’s commitment to choreographer Ryan McMullen’s inventive movement, where even the least experienced performers engagingly displayed character and focus. While the dance did not consistently support the storytelling, “39 Lashes” is a powerfully moving sequence for the ensemble.

The enticement of this production might be its casting, which is certainly not traditional, but encouragingly did not seem controversial.

In recent years, there have been highly visible productions that cast historical characters in unexpected ways. “Hamilton” cast men of color as America’s founding fathers. A Broadway revival of “1776” used only performers identifying as female or non-binary to depict the creation of the Declaration of Independence. Those particular theatre makers demanded audiences reflect on race and gender in a variety of ways, making this central to the narrative and marketing of their pieces. “Hamilton” was billed as “the story of America then, told by America now.” “1776” was pitched as “not a relic from the past, but something that we can learn from in the present.”

Though the historic characters of this biblical tale are predominantly male, this production features prevalently treble voices. Alyssa Gose offers a poised, grounded Jesus. Peyton Womble navigates the complexities of Judas admirably. Kelly Jo Waggoner’s Annas and Maya Melody Marquee’s King Herod are a joy to behold. Mattie Ruminer’s Pontius Pilate is exquisite in every moment.

Director Lisa Hermanson didn’t bore me for a moment, yet despite this casting never seemed to bring considerations of gender into the presentation. Gender didn’t occur to me as Mary Magdalene (Karen Shaw) was touching a female-identifying performer who plays Jesus. The actors are playing characters, not commenting on characters. The more I reflect on it, the more I realize the subversion and power of focusing on the humanity of these historic individuals in this moment.

While the cast is mostly very successful with the acting, they have some difficulties overcoming the obstacles of adapting the music. Music director Brian Berard leads a capable five-piece band. The vocal ensemble often feels less secure. Adapting lines written for rock tenors to suit other vocal types is extremely challenging. While Gose and Womble are impeccable singers, even their vocals are impeded by a need for awkward octave adjustments or melody modifications in lieu of key changes. 

This vital theatre company embraces “dare to fail,” and this is no failure. Don’t miss this shining star of a production, which will entertain you whether it’s your first or hundredth time visiting this work.

Performances continue through January 26t. Details are available at BlankConversations.org.

review, Jesus Christ Superstar, Blank Conversations

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