Review: JESUS CHRIST SUPERSTAR at Roxy's

Once again Roxy’s surprises us with another blockbuster musical in redux. Jesus Christ Superstar opened last night and wowed its capacity audience. With music by Andrew Lloyd Webber and lyrics by Tim Rice, Jesus Christ Superstar is a rock opera loosely based on the Gospel of the Passion. Everything about this production is first rate from casting, to set, props, costumes and lights. The production runs from March 20 through April 25. For tickets call 316-265-4400 or visit roxysdowntown.com.

Leading the cast are Sam Warner as Jesus and Julia Faust as Judas These roles, which are demanding vocally and physically, seem made for them to play. Warner’s vocal range is showcased and stretched to its limits. His Jesus is multifaceted – at once he’s tender, then demanding, accusatory and finally resigned to his fate. After this performance, he has proven his mettle as an actor. Faust is perfect as Judas. Having seen her in many local productions, I was amazed how completely different she is in this part. She has always had strong vocals, yet here she has a deep contralto and resonance that surprises with its depth and range. There are so many levels to this characterization. Her Judas fits right up there with previous star performers in this role.  Warner and Faust are rock stars.

Shannon McMillan gets a showcase as Mary Magdalene. Her rendition of “I Don’t Know How to Love Him” shows Magdalene’s inner conflict about whether he is just a man or something greater. McMillan carries this as a through line from beginning of the show to the end. “I Don’t Know How to Love Him” is indelibly etched in the memories of fans from the original recording. McMillan makes it her own.

Duane Ellis-Jackson as Caiaphas, Ethan Manlove as Annas, Kyle Vespestad as Pontius Pilate and Ben McDaniel as King Herod are the antagonists.  Ellis-Jackson’s range as an actor and a singer is exhibited in the nuance his gives to Caiaphas as well as his very deep bass voice. Manlove has the perfect voice for Annas. His high tenor range suits the score and has such depth at both ends of his range. McDaniel has great fun with King Herod singing the show’s unapologetic bow to musicals of the past.  Vespestad continues to display his acting range as Pontius Pilate. Always at home with humor, he has proven time and again that he is also a serious actor. Pilate provides a vehicle for his voice and his acting ability. His performance is chilling.

Joshua Kelly as Simon and Iam Demory as Peter are strong vocally and serve well playing their characters. The ensemble includes Mark Shobe, Jeff Rosales, Gabrielle Miller, Kennedy Staiger, London Holliday, Sisilia Shaffer and Brenna Welch. This talented group is essential to the success of this show. They play many different characters, dance well and have voices that blend beautifully. They successfully maneuver scenery, change costumes quickly and maintain focus well. Some are new to the Roxy’s stage and we hope to see more of them in future productions.

Simon Hill wears two hats, as musical director and as stage director. First, the musical direction is flawless. This is a rock opera that demands the actors have real vocal chops. Hill chose his actors well, but he served them well as a trained vocal instructor. They never sound strained as they move through several vocal ranges. The small orchestra creates a perfect accompaniment to the actors. Perched in their sky pit are Joy Lenau (keyboards), Alex Nordine (guitar), Lukas Weber (percussion), and Randy Fields (bass). Second, his staging fills the stage and never seems static. The movement is always purposeful and appropriate to the script. Pay attention to Kyle Vespestad’s fine choreography. He has the ability to create dances that fit the music and the ability of the actors.

Set and sound design by Jason Huffman utilizes the small stage well and sound is well balanced. The center piece of the set was especially impressive. Louise Brinegar’s props are period appropriate and spot on as always. Seferino Ramirez, Jr., in his Roxy’s debut as Costume Designer,  pays attention to detail exceptionally well. The fold of a scarf, the use of contemporary clothing juxtaposed with period pieces, the choice of shoes, and overall perfect fit proves he is someone to watch. Arthur Reese creates movement with light and color that fit each scene with his lighting design. Production Manager and lighting technician Bellaly Escalante makes her debut with this production and runs the lighting cues seamlessly.