Review: JESUS CHRIST SUPERSTAR at Springer Opera House

Today, an entire genre of Christian rock exists to mix praise with modern music. But in 1970, it was unheard of until Andrew Lloyd Webber and Tim Rice's Jesus Christ Superstar burst onto the scene. The mix of heart-pounding guitar chords with the story of the final week of Christ's ministry was revolutionary and became one of the defining musical theatre albums of the Baby Boomer generation. Jesus Christ Superstar returns to the stage in a Springer Opera House's production that has a strong cast and choreography, but which struggles at times with coherence.

Jesus Christ Superstar is notable in how it blurs genres. Billed as a "rock opera," but it also draws from musical theatre conventions. "Rock oratorio" might be the best label for the show because the content of the score is religious, and it relies heavily on recitatives and (to a lesser extent) arias. Like most oratorios, the creators assume that the audience can fill in the story's holes with their prior knowledge. Unlike an oratorio, though, it is light on theology and spiritual edification. Jesus Christ Superstar will resonate most with people who don't want their Jesus to be too preachy.

Left to right: Jael Gadsden as Mary, Jermarcus Riggins as Jesus, and Christian Becerras as Judas. Photo by Allie Kent, courtesy of the Springer Opera House.

Whatever label a critic places on Jesus Christ Superstar, at the Springer Opera House, it is a spirited evening. Director and choreographer Keith McCoy has created a production so jam packed with energetic dancing that I got winded just by watching. "Heaven on Their Minds," "Hosanna," and other production numbers show off the ensemble's dancing talent and gives a lot of visual pizzaz to the show. McCoy directs his ensemble so that they have a group personality; these performers move and act as one, and they are effective as a crowd of adoring believers, a mob, or whatever else the scene calls for.

Outside of the ensemble, the production struggled to make this show into a piece of drama. I struggled to understand many of the lyrics, which made it difficult to become invested in the show. (The play was nearly over before I figured out who Pilate was.) Additionally, the direction failed to make some of the scenes work on the live stage. Judas's post-suicide return as a spirit to sing "Superstar" with attending angels and the open confrontation between Judas and Jesus at the Last Supper left me with more questions than answers.

As Judas, Christian Becerra has the best role in the play, and he gives a flawless performance. Judas has the most stirring vocals in the show, and Becerra does justice to Lloyd Webber's impassioned score. Becerra also succeeded in making Judas the most real person on stage. His rationalization for taking money to betray Jessus and the deep anguish and regret that later causes the character to hang himself were the most psychologically gripping scenes of the evening. 

Jermarcus Riggins as Jesus. Photo by Allie Kent, courtesy of the Springer Opera House.

Becerra has the advantage that Judas is written as a complex role; Jesus, however, is a blank page. For most of the play, he is just a vague leader, and this makes Jemarcus Riggins's job more difficult. However, Riggins overcomes this challenge, and his charisma makes him convincing as a person that would inspire a mass following. Riggins plays Jesus as a psychologically conflicted character: a leader who sometimes needs to get away from his followers, a man with a mission he does not understand. The mix of opposites reaches its height in the Gethesemane scene, where Riggins beautifully portrays a mix of hesitation and certainty in Jesus.

Mary Magdalene has the two songs that are most grounded in the musial theatre tradition, "Everything's Alright" and "I Don't Know How To Love Him," and Jael Gadsden sings both beautifully. The ascending melody of the bridge of "I Don't Know How To Love Him" soars  until it climaxes soulfully. "I never thought I'd come to this!" Mary exclaims, to herself, to the audience, and perhaps to God. Gadsden's performance of "Everything's Alright" is comforting, making it feel completely natural that it would soothe Jesus to sleep. More than any other performer, Gadsden's performance is defined by hit songs, and she is capable of making these standards meet the audience's high expectations.

Scenic designer Walter Pigford created an ideal setting for Jesus Christ Superstar, which permitted it to be staged like a rock concert. The stage is dominated by a large dais that has a live band perched upstage and flanked by 10-foot tall faux speakers. Throughout the show, actors ascend and descend the dais, permitting them to view or comment on the action happening in front of it, downstage. Actors could also stand on the top of the speakers, adding a staging option that brought variety to the blocking.

Christian Becerra as Judas (center), singing to Jermarcus Riggins as Jesus (lying on stage), flanked by ensemble members (top of photo). Photo by Allie Kent, courtesy of the Springer Opera House.

Alex Allison's costumes were mostly modern, with touches (like bell bottom jeans and denim dresses) in the ensemble that served as reminders of an era when Jesus Christ Superstar was an avant garde hit. Most of this mixing of eras is subtle, but the costume for Herod is a major exception; it looks like he stole his purple disco jumpsuit from the final scene of Mamma Mia! It was a garish choice that clashed with the aesthetic of the rest of the production, but the audience loved it, and the song is pretty goofy. So, what do I know?

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