Review: JESUS CHRIST SUPERSTAR at Fulton Theatre

Andrew Lloyd Webber's rock opera, Jesus Christ Superstar opened at the Fulton recently, just in time for the Lenten season.  Aaron LaVigne stars as a relatively subdued Jesus.  I would have liked to have seen more emotional range displayed in scenes like the cleansing of the temple and in numbers like the emotional gut punch of "Gethsemane".

Decked out in a man-bun and messenger bag, there seems to be a hipster vibe to this Jesus for some reason?  I was confused by this choice, since hipsters are notorious for their sense of irony and detachment, yet Chirst is grounded in sincerity and earnestness.

David Toole plays a sympatheitc Judas.  He conveys great unrest and frustration throughout the show.  His rendition of "Superstar" towards the end of act two was a vibrant highlight.

Kristina Leopold is very effective as Mary Magdalene.  She sings the iconic, "I Don't Know How to Love Him" with authenticity and sweetness.  Other cast memebrs deserving to be singled out include Israel Erron Ford, who has a magnficent voice (that even Peter couldn't deny), and Marnie Parris as an exasperated Pontious Pilate.

Choreography by Tyler Hanes was crisp, interesting and contemporary. Lots of popping and locking featuring many sharp, twisty movements.

Lighting for this production was a mixed bag.  Paul Black's lighting design is moody and atmospheric.  Many characters are bathed in bright, white rays while the remainder of the stage remain in darkness.  This became a problem a few times when an actor outside of the spotlight begins to sing.  It takes the audience more than a few seconds to realize where the sound is coming from.

Kudos to musical director, Ben McNaboe and the show's talented five piece band who rocked the house. I especially appreciated the contributions of Genevieve Chapin, who jams on muscial theater's funkiest bass lines.

Deidre Goodwin directs the show at a quick clip.  The first act was only about 50 minutes long.  I think this is partially due to how one song seemlessly transitions to the next, oftentimes without an opportunity for audience applause.

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