Review: JESUS CHRIST SUPERSTAR at Shea’s 710 Theatre

Sometimes alchemy really happens. A blockbuster title with a perfect cast at the most appropriate time of year makes up the spectacular new production of Jesus Christ Superstar now playing at Shea’s 710 Theatre. Presented by Musicalfare, the production has a company that rises to the occasion during its first full season in its downtown digs.

Andrew Lloyd Webber’s 1970 blockbuster musical firmly anchored his place in the rock-opera genre. Jesus Christ Superstar was omnipresent with its gatefold record album in everyone’s collection. The title tune could be recognized by theatre lovers, as was as the general public. And Yvonne Elliman’s smooth voiced rendition of “I Don’t Know How to Love Him” was on every radio station.

With a score by Webber and Lyrics by Tim Rice, the show is completely sung through, without dialogue, in telling the last week of Christ’s life. While an unlikely subject for rock music, the show has a score that somehow served the story in a most contemporary time that magically captivated audiences. Webber soon after stuck with another Biblical theme, with his Joseph and the Amazing Technicolor Dreamcoat. And a young Stephen Schwartz added his take on the parables when he wrote Godspell in 1971. Perhaps the pangs of the Vietnam War had audiences returning to religion. 

Musicalfare has an embarrassment of riches at their disposal in its cast. Without a weak link, the singing actors soared at every turn, bringing a reckless sense of exuberance to each number. The colorblind/gender bending casting is never an issue, which is not only commendable but comfortably refreshing.

Jesus is played by the magnificent Tiger J. Brown, whose slight figure and calm demeanor make him instantly engaging. Brown imbues the role with gut wrenching nuance and a voice that literally soars as the vocal line becomes higher and higher. The lashing scene followed crucifixion was beautifully staged and acted by Brown, whose heartbreaking screams and weeping was intricately delivered, making it painfully hard to  watch.

Quinn McGillion has the meaty role of Judas Iscariot, the betrayer of Jesus. McGillion masterfully dives into “Heaven On Their Minds”  with a firm stance and a voice that easily navigates one of the most difficult vocal roles written by Webber. By the time he leads the cast in the title number, McGillion’s talents have been expertly displayed in the role of a cynical betrayer. 

Aimee Walker is our Mary Magdalene, and her smooth throaty voice seemed perfectly paired to complement her love for Jesus. Walker’s lovely rendition of “I Don’t Know How to Love Him,” and “Could We Start Again Please” were calm rivers in an otherwise ocean of torrents.

Philip Farugia as Caiaphas, Bob Mazierski as Annas, alongside Jake Hayes and Dave Spychalski as Pharisees, were an evil group in their quest to kill Jesus, a threat to the Roman Empire. Farugia’s snarls and guttural low notes were indeed fear inducing.

Lily Jones certainly raised the roof as she belted “Pilates Dream.” Jones exuded power in her both her presence and knockout singing.

Kristopher Bartolomeo brought a bit  of comical levity to his near vaudevillian portrayal as Herod, strutting  and parading  about during “King Herod’s Song.” With panniers and heels, Bartolomeo ran with the staging, fully succeeding with a strong voice and comical smirk.

The ensemble each gets their times to shine, with special recognition to Taylor Carlson as Simon and Ember Tate-Steele, who both bring splendid voices that easily captured the vocal style of the rock/show music.

Stage Director Randy Kramer alongside Co-Director/ Choreographer Michael Oliver-Walline have staged the action ensuring a fine balance between crowd scenes and intimate moments. With the aid of a hand held steady cam, those intimate moments are also projected live on two side panels, bringing uber focus with a cinematic edge ( A device used to brilliantly in the recent Broadway revival of Webber’s Sunset Boulevard staged by Jamie Lloyd).

Oliver-Walline’s dances use early '70s billowing hand gestures, as well as highly synchronized stylized movements to great effect. By the time the entire cast assemble all clad in white to sing “Superstar,” we are at once transported to a Bible-thumping tele-evangelist broadcast of sorts. Judas is our leader and the frenzied singing and dancing is jubilant, in contrast to the tragedy which is about to occur.

Set, Lighting and Sound Designer Chris Cavanagh has designed an intriguing set, dominating by a massive central staircase that changes color as needed, flanked by projection screens and neon accents. The video projections morph from pixelated rainbows to lava lamp morphing colors. Costumes by Kari Drozd were drab when needed, colorful for the Pharisees and eye popping for title number.

The off stage band was tight, led by Music Director Theresa Quinn. The sound was anchored in the '70s with electric keyboards and guitar, with the trumpet and woodwinds shining in their fanfare moments.

This production brings a gritty sense of reality to the barbaric nature of the story. The edginess of the rock music score never seem at odds with the action, often heightening the drama at its most graphic moments. With this mega talented cast, Jesus Christ Superstar presented by Musicalfare embodies the professional quality of the actors, singers and dancers here in Western New York.