Review: JESUS CHRIST SUPERSTAR at Studio Tenn
With performances running through May 31, 2026, this production is a testament to the "Broadway-caliber" reputation Studio Tenn has built in Middle Tennessee.
Jesus Christ Superstar began as a concept album in 1970 before making its stage debut in 1971. The original 1970 concept album was the brainchild of composer Andrew Lloyd Webber and lyricist Tim Rice. Weber and Rice were unable to find a producer willing to back a stage production about the life of Jesus. Jumping that hurdle, an innovative decision was made to record and release a "rock opera" album to build their initial audience. I’d like to point out here that the decision to release the rock opera as a studio album first was a masterstroke of strategic foresight. Rather than waiting for a stage to prove its worth, the album bypassed traditional financial barriers and went straight to the public's ears. This created a built-in community of fans who had already developed emotional ties with the characters and lyrics. By the time the project transitioned to Broadway, it was a highly anticipated event supported by a loyal audience that already knew every word. The success of the album, which reached #1 on the Billboard charts, eventually paved the way for the 1971 Broadway production. The album featured Ian Gillan (lead singer of Deep Purple) as the original voice of Jesus, and Murray Head (One Night in Bangkok) as Judas. The screenplay for the 1973 film was co-written by the film's director, Norman Jewison, and British writer/broadcaster Melvyn Bragg. The production helped launch several careers and featured consistent talent across the stage and screen. The original Broadway cast starred Jeff Fenholt as Jesus, Ben Vereen as Judas Iscariot, and Yvonne Elliman as Mary Magdalene. In the film, Ted Neeley took over the role of Jesus (after being a chorus member and understudy on Broadway), while Carl Anderson played Judas. Yvonne Elliman and Barry Dennen (Pontius Pilate) reprised their roles from the original Broadway production. The show was highly controversial upon its release, with reactions ranging from condemnation to high praise.
Studio Tenn Theatre Company is currently closing its blockbuster 16th season with a production that feels less like a local theater run and more like a Broadway event. Staged at the Turner Theater inside the Factory at Franklin, this rendition of Jesus Christ Superstar serves as an electrifying finale before the company transitions into its newly announced 2026-2027 lineup. This production leans heavily into the show's origins as a rock opera that emphasizes raw energy over traditional Biblical sets. This set bypasses desert landscapes for a more industrial or dystopian aesthetic on a multi-level stage design with scaffolding that allows the ensemble to loom over the action, amplifying the feeling of a society on the edge.
The headline draw is undoubtedly Broadway royalty Adam Pascal in the title role. Adam Pascal’s career is defined by his role as the quintessential "rock tenor" of modern Broadway. Beyond his legendary turn as Roger Davis in the original cast of Rent, a role he reprised for the 2005 film adaptation, he has consistently led some of the most successful productions of the last two decades. Pascal starred as Radames in the original Broadway cast of Elton John and Tim Rice’s Aida, earning a Drama League Award for his performance. He also famously stepped into the iconic roles of the Emcee in Cabaret and Huey Calhoun in Memphis. Most recently, he showcased his comedic and vocal versatility as William Shakespeare in the hit musical Something Rotten! and as Edward Lewis in the Broadway premiere of Pretty Woman: The Musical. For those who grew up on the original cast recording of Rent, hearing that iconic, raspy rock tenor in the intimate 300-seat Turner Theater is a visceral experience. Pascal brings a weary, humanness to Jesus with a vocal prowess that remains remarkably preserved. His performance anchors the show, reminding us why he remains a definitive voice in the rock musical canon. Pascal’s approach to Jesus is less about ethereal divinity and entirely about raw, exhausted humanity. He portrays a man buckling under the immense weight of his predetermined destiny. Nowhere is this more potent than in his rendition of "Gethsemane," the emotional and vocal Mount Everest of the show. Pascal takes the audience on a breathtaking vocal and emotional roller coaster in "Gethsemane," masterfully transitioning from a weary, desperate whisper to an explosive, guttural rock scream that demands answers from a silent heaven. This visceral release of trauma then collapses back into a frail, hollow whisper of tragic resignation, drawing us entirely into the raw, unfiltered humanity of a broken man accepting his fate.
Pascal is supported by a cast that arguably marks Studio Tenn’s most high-profile ensemble to date, bringing powerhouse vocals to this production. While Adam Pascal brings the Rent legacy, his co-stars bring equally impressive resumes from the worlds of Broadway and pop-soul. Mykal Kilgore (Judas Iscariot) as the show’s antagonist and narrator, provides a soulful, high-octane contrast to Pascal. His interpretation captures the frantic desperation of a man watching his world unravel. Olivia Valli (Mary Magdalene) delivers a grounded and vocally stunning performance, bringing a necessary tenderness to the production’s more reflective moments and the pipes to belt to the rafters when needed.
Mykal Kilgore (Judas) is a vocal dynamo whose career bridges the gap between Broadway and the Billboard charts. He has starred in Motown the Musical, Hair, and the first national tour of The Book of Mormon. A Grammy-nominated artist for his debut album A Man Born Black, Mykal is known for a multi-octave range that can shift seamlessly from gospel-inflected soul to soaring Broadway tenor. You may recognize him from NBC’s Jesus Christ Superstar Live in Concert (starring John Legend) and The Wiz Live!. Singing “Heaven on Their Minds”, Kilgore commands the stage right from his opening notes, leaving audiences awestruck with a crystal-clear, piercing belt and immaculate diction. What truly sets his interpretation apart is a masterclass in vocal cadence. Leveraging his deep background in soul and R&B, Kilgore integrates brilliant, effortless improvisations and riffs over Andrew Lloyd Webber’s notoriously difficult lines. If the first act is about vocal dominance and political frustration, Act II's tragic climax is where Kilgore delivers absolute heartbreak in betraying Jesus.
Olivia Valli (Mary Magdalene) is a musical theater virtuoso, having carved out a major career as a leading lady. Olivia recently completed a long, celebrated run as Elphaba in the National Tour of Wicked, a role that demands incredible vocal stamina. She also played Mary Delgado in the Off-Broadway production of Jersey Boys, and originated the role of Vivian Ward in the first national tour of Pretty Woman: The Musical. Her vocals in "Everything's Alright," where Mary attempts to create a peaceful space for Jesus, as she sees him buckling under the weight of the world. Valli plays this with an intentional, soothing maternal grounding, physically and vocally acting as a counterweight to the frantic, angular energy of Mykal Kilgore's Judas and the mounting existential exhaustion of Adam Pascal’s Jesus. You could tell the audience was waiting for her version of “I Don’t Know How to Love Him” as you could have heard a pin drop, as ears and eyes leaned in to hear every emotional note.
Geoffrey Davin’s Pontius Pilate brings a riveting, highly stylized performance that borders on a Liberace-like flamboyance. Embodying the Roman leader with a fluid, rather feminine grace, Davin is mesmerizingly slow in his movements and deliberately calculated in his speech. Wrapped in a memorable royal blue pantsuit and cape, his striking presence and rich vocal delivery perfectly capture a conflicted ruler balancing flashes of dark humor with an imposing, severe authority.
As the high priest Caiaphas, W. Scott Stewart anchors the show’s antagonistic forces with a commanding, deep bass voice that sounds genuinely foreboding. His tall stature creates an imposing, physically dominating presence on stage, effortlessly capturing the severe and threatening authority needed to make "This Jesus Must Die" a chilling highlight of the production.
Jennifer Whitcomb-Oliva delivers a showstopping, larger-than-life performance of King Herod that commands the stage the moment she steps onto it. Towering and majestic in stature, she is a spectacular sight to be seen, draped in flashy, glittering sequins that perfectly match her character's boisterous malice. Whitcomb-Oliva brings a riveting, commanding presence to the role, balancing dazzling showmanship with razor-sharp taunting toward Jesus, which makes "Herod's Song" an unforgettable, deliciously wicked highlight of the evening.
The vocal strength of the production extends deep into the supporting cast. Parker Jenkins commands the stage with a sinister, calculating presence as Annas, pairing brilliantly with the high priests to ground the show's political tension. In stark contrast, Connor Barr’s portrayal of Peter provides a deeply moving emotional anchor among the disciples, delivering his moments of doubt and denial with quiet, haunting sincerity.
Overseeing this monumental undertaking is the exceptional direction of Patrick Cassidy, an accomplished actor, director, film, television, and theater veteran. He famously originated the role of the Balladeer in Stephen Sondheim’s off-Broadway production of Assassins, starred on Broadway as Radames in Elton John and Tim Rice’s Aida, and made history alongside his mother, Shirley Jones, in the 2004 Broadway revival of 49th Street. Wearing two demanding hats for this production, Cassidy effortlessly balances his vision as the director with his overarching leadership as the Executive Artistic Director of Studio Tenn. Because of his hard-earned stature in the entertainment industry and the deep respect and affection he commands nationwide, he was able to pull together a powerhouse cast of a caliber that Nashville audiences would typically only see on a Broadway stage. Under his steady guidance, the entire company moves with a unified purpose, resulting in a meticulously run, finely tuned production that showcases Cassidy's profound understanding of grand-scale musical theater.
Lighting Design by Darren Levin is a stark, high-contrast lighting plot. The use of industrial-style lighting rigs and moving concert beams creates a frenetic, modern energy, especially during "Heaven on Their Minds" and the title track "Superstar." The production's rock-and-roll energy is thoughtfully amplified through vibrant lighting design, which infuses the musical numbers with a concert-like thrill while maintaining sharp theatrical focus.
Sound Designer Danny Northup ensures that the sudden leaps in volume feel impactful rather than jarring or distorted and maintains a clean vocal mix that keeps every lyric crisp. Given the Turner Theater's 300-seat intimacy, his sound design was engineered for impact. Dealing with vocal powerhouses like Adam Pascal, Mykal Kilgore, and Olivia Valli, who effortlessly pivot from intimate whispers to glass-shattering rock belting, Northup delivered incredibly agile sound mixing for the ever-changing landscape of vocals that this production demands.
Choreographer Joi Ware crafted dance numbers into a distinct character unto itself, absolutely driving the energy of the production forward. Rather than aligning the dancers into a rigid, orchestrated unison, Ware allows them to move dynamically within their own specific roles. This savvy choice ensures that each performer maintains a unique personality on stage that dares the audience to watch them individually to see exactly what their singular character contribution is to the larger production. Bravo to Featured Ensemble members Emma Rose Williamson (Dance Captain), Garris Wimmer, Bakari King, Matthew Hayes Hunter, Lane Adam Williamson, Connor Adair, Victoria Griffin, and Maya Antoinette Riley. Further accolades to Ensemble members Nikki Berra, Patrick Jones, Christina Ledbetter, and Savannah Stein.
The production’s visual storytelling gets notched up by Costume Designer Devon Renee Spencer's amazing and inspired costumes, which brilliantly bridge contrasting worlds. Spencer masterfully handles the show’s stylistic evolution, seamlessly shifting the ensemble from a raw, gritty, 1970s hippie-grunge look into moments of pure, eye-popping glitter and glitz, and injects the entire production with a dazzling, rock-and-roll vitality.
Andrew Cohen, Scenic Designer, leaves maximum room for the show’s high-energy choreography and explosive ensemble numbers. The minimalist approach ensures that the focus remains squarely on the human drama and the actors' performances. The use of multi-tiered steel scaffolding allows the production to dynamically separate the characters. The high priests and Roman authorities can look down threateningly from the upper decks, while Jesus and his followers operate in the open space below. This verticality instantly establishes the oppressive power dynamics of the story. By keeping the stage free of cluttered scenery,
The backbone of any production is a strong, creative, and organized stage manager, steering with precision from the helm, the unseen, unsung hero working behind the scenes. A production as high-octane and seamlessly paced as this requires masterful coordination, and Stage Manager Marlee Shelton deserves immense credit for meticulously calling cues, managing intricate transitions, and maintaining the sharp, relentless momentum demanded by the driving rock score.
The stunning visual identity of the production is further elevated by the exceptional work of Wig Designer Meredith Schieltz. Her designs provide the perfect finishing touches to the characters, effortlessly transitioning from the severe, structured authority of the high priests to the flamboyant, show-stopping extravagance of Herod. It's worth noting that there were several audible “oohs” and “ahhs” from the audience in appreciation of unexpected costume changes that ignited the stage.
Matching the production's visual grandeur is the sensational musical execution led by Music Director Randy Kraft. Kraft expertly steers the vocalists and the powerhouse rock band through Andrew Lloyd Webber’s demanding and iconic score. Under his sharp musical direction, the orchestra delivers a wall of sound that is both remarkably tight and electrifyingly raw, driving the show's intense emotional beats forward and giving the entire production a thrilling, concert-quality energy.
With performances running through May 31, 2026, this production is a testament to the "Broadway-caliber" reputation Studio Tenn has built in Middle Tennessee. It is a bold, loud, and deeply moving reimagining of the Andrew Lloyd Webber and Tim Rice classic. For more information on this production and Studio Tenn, visit www.studiotenn.com.
Photos: Curtis Brown Curtis Brown Photography
Fun facts: Accusations of heresy were raised by many religious groups who criticized the show for portraying Jesus as too "human" by displaying traits of doubt, fear, and frustration, rather than a fully divine nature. A major point of contention was the omission of the Resurrection, since the show ends with the Crucifixion, which led critics to argue it denied Christ's divinity. Some Jewish organizations expressed concern that the harsh depiction of the high priests could stir anti-Semitic sentiments.
As far as Biblical accuracy, while the lyrics often pull directly from scripture (such as the Trial before Pilate), the show takes creative liberties by focusing on the political and interpersonal tension between Jesus and Judas. It also introduces a romanticized subtext to Mary Magdalene’s infatuation, which many theologians felt strayed from biblical canon.
Despite the backlash, the show found an unlikely ally in Pope Paul VI, who reportedly attended a private screening and spoke favorably of it, believing it would bring more people to Christianity by making Christ’s gospel accessible to a younger audience.
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