Review: JESUS CHRIST SUPERSTAR at Berkeley Playhouse

JESUS CHRIST SUPERSTAR at Berkeley Playhouse hits all the right notes. With a song list among the hardest in musical theater canon, the show wows with multiple vocalists who make a statement of prowess. With a massive set, extraordinary lighting, and some blinged out costumes, the production goes big. The spectacular show lands high on entertainment value.

The last days of Jesus Christ are a topic that have been explored in many ways throughout history. JESUS CHRIST SUPERSTAR chooses to explore the narrative from the perspective of Judas. Jesus’s fame is growing. His followers are multiplying. But there is already an undercurrent of trouble. Judas questions Jesus’s choice to allow Mary, a woman of ill repute, to anoint him with expensive oil and perfume. The religious leaders grow from concern with his popularity to outright attacking his ministry. Instead of stepping inline, Jesus rebukes the priests for using the temple for profit. As tensions rise, Judas must decide where his loyalty lies. But the harder part may be living with the consequences of his actions.

With a cast that seemed much larger than its numbers, there were a few that stood out. Sydney Jacobs Allen as Judas gives a strong start to the show. With strong vocals and a commanding presence, Allen sets the tone for the conflict. Andrea Rae as Simon has a brief moment in the spotlight that leaves us wanting more. Sean Hoffman as Peter pops up at key moments to lend a different tone and with pleading eyes completely wins us over. If it’s possible to make Pilot a likeable character, then Jordan Smith does just that. Lucca Troutman as Mary is like a quiet respite amid all the noise and chaos. She doesn’t attack her songs, but rather lets them flow through her so that the words pour out as much as the perfumed oil she bears. Dance captain Hannah Martinez-Crow not only leads the way in some complicated choreography, but also belts out a few great lines that make your eyes search for the source of that clear, new voice in the mix. Deanalís Arocho Resto brings layers of complicated nuance to the role of Jesus. Their guarded countenance and intentionality foreshadow the struggle to come. In Gethsemane, we see, feel, and hear the fullness of the battle within as Arocho Resto just lets it rip. The ensemble does some heavy lifting in the show as their intensity is required to build the emotional turmoil. There were a few apostle/ensemble standouts that continually made the crowd a vital element in the show. So a quick shoutout to Ayani Dorsey, Maia Campbell, and Sarah “Eli” Hampton.

The scenic designer Kuo-Hao Lo provides a playscape fit for a rock opera. The levels and central background have a grand feeling and fill the space. They also allow movement to be up and over, around, and even under. Costume Designer Ashley Renee leaned into the rock vibe with a lot of black, leather, laces, asymmetrical lines, and cut outs. The result was a look that was edgy, tough, but occasionally ill-fitting. Lighting Design can often be subtle, more felt than seen, but Mark Thomas’s work was almost like an extra character on stage. The lighting was dramatic, varied, and effective. The Music Director by Michael Patrick Wiles produced strong, clear vocals, and most importantly, healthy belting by a large cast. Occasionally, the vocals were competing with a very loud orchestra where I would have preferred a different balance. In a rock opera with zero dialogue, the lyrics must tell the story and should always take priority. Choreography by Kevin Gruwell is hard-hitting, fast, and intricate. But then it was also flowing, melting, and smooth. At intermission, I told my companion that it was like watching a liquid ensemble. The only miss was with the Priests. They needed more to do or something different as the energy dissipated in their scenes. Director Kimberly Dooley tackles this beast of a show and delivers some very special moments. The tableau of the Last Supper is especially beautiful and powerful. However, somewhere in hitting all the highlights, we lose a bit of the story thread throughout. The arc of Judas’s journey is almost completely missing his closeness to Jesus in the beginning, from both sides. And without showing that closeness, his betrayal lacks the power it should have. Dooley also chose not to include Judas’s death which completes the arc of his story in the remorse for his actions. Still, the big memorable scenes pack a punch and tick the boxes of what most people love about this show.

JESUS CHRIST SUPERSTAR is a behemoth of a show. It requires so much from its cast and artistic team that it is rarely produced these days. Take advantage of this unique opportunity to see this show in the beautiful Julia Morgan Theater, playing now through March 30th.

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