Review: JESUS CHRIST SUPERSTAR at Coastal Players & Theatre On The Bay

Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar remains one of the most iconic rock operas to grace the stage. Since its debut in the early 1970s, the show has challenged audiences with its bold portrayal of the final days of Jesus Christ through the eyes of Judas Iscariot. In today's society, where questions of truth, loyalty, leadership, and disillusionment are ever-present, the themes of the musical continue to resonate. It’s a production that demands both vocal power and emotional honesty, and this community theatre staging rises to several of those challenges while leaving room for growth in others.

The production was visually engaging, thanks largely to a strong design concept that worked cohesively across set, and lighting. The lighting design alongside a purposeful and simple set elevated many key moments, bathing the stage in mood-setting color and contrast. From the ominous shadows of betrayal to the haunting tones in Gethsemane, the lighting helped guide the arc of the show.

Chase Grabowski, in the role of Jesus, delivered a powerhouse performance, marked by striking rock vocals and commanding stage presence. Nowhere was this more apparent than in the Gethsemane scene, arguably the most emotionally raw moment of the show. The vulnerability and desperation poured into that number gave the audience a glimpse into the spiritual and physical torment Jesus faced, and it stood out as the highlight of the evening.

Judas, portrayed by Audrey Soberg, brought a fiery intensity and a strong vocal foundation that energized the production from the start. Her vocals soared with confidence, showcasing a clear depth of talent, and her dynamic physical presence made her a commanding figure on stage. There is no doubt she gave her all to the role. As the show continues to evolve, there is an opportunity to explore even more subtle layers in Judas’s emotional journey—moments of internal struggle and quiet conflict that can make the character’s arc even more compelling. Clarifying the complex relationship between Judas and Jesus could also deepen the dramatic impact and further highlight the tension that drives the heart of the story.

Mary Magdalene, played by Brittany Welch Pilz, brought a warm and lovely vocal presence to the stage, with a particularly beautiful rendition of the iconic “I Don’t Know How to Love Him.” Her voice was rich, controlled, and emotionally sincere, adding a softness and tenderness that complemented the show’s heavier moments. There is still room to deepen the character’s emotional arc—leaning into the vulnerability and internal conflict that make Mary such a vital, humanizing presence in the narrative. With more emotional transparency, especially in the quieter, reflective moments, her performance could truly illuminate the heartache and devotion that define Mary’s role in Jesus’s story.

One of the most beautiful and unexpectedly powerful moments of Act I was “Pilate’s Dream.” Brittney Koerner-Wrench brought a quiet intensity to the scene, allowing the haunting melody and introspective lyrics to take center stage. With a calm, almost ethereal tone, the song served as a poignant pause in the show’s driving energy, offering a glimpse into Pilate’s internal conflict and foreshadowing the gravity of what’s to come. The simplicity of the staging, paired with the emotional clarity of the performance, made this moment stand out as both musically and dramatically compelling.

The choreography, while clearly rehearsed and often unified, seemed to lack a coherent vision at times. In community theatre, it is always a challenge to choreograph for a wide range of ages and abilities. I commend the design team for their understanding of the cast, making movement accessible for all.  That said, the movement sometimes felt safe and disconnected from the story’s deeper themes. A more intentional and consistent choreographic language could have elevated the ensemble scenes and helped tie the narrative threads together.

While the production aimed for dramatic realism in the death scenes of both Judas and Jesus, I could not help but feel a sense of unease at the level of physical risk involved. These moments, by nature, are emotionally charged and visually intense, but the staging choices appeared to push the boundaries of what is safe in a community theatre setting. One unforeseen technical glitch or human misstep—whether it be in rigging, railing, or timed cue—could result in serious injury. I would encourage the creative team to explore ways of conveying tension and finality through lighting, sound, and performance rather than overtly hazardous physical staging. Safety must never be compromised for the sake of spectacle.