There’s more than a “buzz” echoing from the walls of Playhouse on the Square (POTS).
As the riff of an electric guitar fills the theater accompanied by an energy only harnessed by the most dynamic frontmen, it’s easy to forget that you’re about to be transported to Nazareth during the final days of Jesus Christ.
Though one may think they’ve bought a ticket to a theatrical performance bound by the confines of a stage, the orchestra and actors have magically produced a sort of Biblical rock concert — one that arguably turned me into the group’s most devoted groupie.
It’s mystifying to leave a production with the Bible as its source material with such intense feelings. Maybe it’s the beauty of a rock opera where one has to cling on to every word for understanding. Creatives can certainly let the genre do the heavy lifting, and it can be easy to charge the success of a production to its defining tenants. However, the success of POTS’ Jesus Christ Superstar isn’t reliant on its genre.
What director Claire Kolheim and company have crafted is so remarkable that it beckons to expand beyond the walls of the theater.
Jesus Christ Superstar takes an unconventional look at the final days of Jesus Christ from the perspective of Judas Iscariot. The musical was written by Tim Rice with lyrics by Andrew Lloyd Webber, and premiered on Broadway in 1971.
Judas’ critical lens casts Jesus as a man enamored by the glamor of being the Messiah and having followers. With a seemingly clearer mind, Judas trusts his judgement of Jesus, leading him to commit the ultimate betrayal.
Judas’ disdain is palpable, and even in scenes where he’s not singing you can feel his anger festering to the point where he feels like he needs to take matters into his own hands. This speaks to the talent of Braxton Gilliland who takes the audience into the psyche of Judas, which can be hard in a medium like theater.
Gilliland’s performance is notable as well because he doesn’t play Judas with only anger. As an audience member you know what he’s going to do, yet you can’t help but be invested in what pushes him over the edge. While “Superstar” is an obvious shining moment for Judas, his performances in “Blood Money/Damned For All Time,” “The Last Supper,” and “Judas’ Death,” are as cathartic as Jesus’ “Gethsemane.”
Marvin Holt captures the audience instantly as he transforms into Jesus — exiting the overture with a soft smile while taking in the magnitude of the role he’s set to play. The softness and kindness that he portrays in the background of “Heaven on Their Minds” speaks volumes and lends to one of the most popular ways that Jesus is portrayed — a man who helped people and was loved for it. However the lyrics he sings juxtaposed by the singing and dancing of his followers begins to illustrate the disconnect between his purpose and what he represents to his followers (“Poor Jerusalem.”)
Holt brings a multi-faceted portrayal of Jesus, which is crucial to the musical’s success. While many depictions of Jesus choose to focus on his suffering as a testament to his obedience, Holt delivers a layered performance defined by complexity and humanistic emotions.
These emotions culminate in Holt’s “Gethsemane” that would go head to head with Ted Neely’s in my personal playlist.
Every actor in the production takes the stage and owns it, and I truly mean that. Justin Allen Tate as Pilate instantly commands the theater with his vocal talents, and while King Herod (Chris McCollum) only has one song — you’d believe he was the headliner at a Vegas residency. Jeremy Bukauskas delivers Caiaphas’ defining bass-baritone without breaking a sweat, while Alan Toney finds success in developing his own iteration as Annas.
In true concert fashion, I’m experiencing a bit of post-concert sadness, but that’s okay because I will likely see this again. In fact, I think everyone should see it. I want this on Broadway tomorrow, so if anyone knows how to make that happen — let’s do it.
Jesus Christ Superstar runs at Playhouse on the Square through May 17.