Review: JESUS CHRIST SUPERSTAR at Georgetown Palace Theatre

Conceived by Andrew Lloyd Webber and Tim Rice as a concept album in 1970 before making its way to Broadway in 1971, Jesus Christ Superstar is a groundbreaking rock opera that retells the final days of Jesus Christ through the perspective of Judas Iscariot. More than fifty years later, its blend of rock music, biblical storytelling, and complex human relationships continues to captivate audiences worldwide. It also remains one heck of a challenging score, demanding vocal power, stamina, and emotional intensity from nearly everyone onstage.

Directed by Jamie Rogers, Georgetown Palace Theatre's production embraces the show's rock-opera roots while delivering an interpretation that feels both modern and timeless. More importantly, it is simply a lot of fun. In fact, this may be my favorite Georgetown Palace production since I began reviewing for BroadwayWorld in 2018. There, I said it.

The story follows the growing conflict between Jesus and Judas as Jesus's popularity surges and the political and religious powers around him become increasingly uneasy. Judas fears events are spinning beyond anyone's control, while Jesus struggles beneath the crushing weight of expectation. What unfolds is less a traditional biblical retelling and more an examination of loyalty, doubt, fear, friendship, sacrifice, and betrayal.

Rogers guides the narrative with confidence, keeping the action clear while allowing the music and characters to remain front and center. Supporting that vision is Philip Johnson's impressive set design. Built around industrial scaffolding, transparent curtains, elevated platforms, and construction-site aesthetics, the set creates a visual world that bridges the gap between the ancient and the modern. Rather than attempting historical realism, the design reinforces the show's timeless themes and reminds us that these conflicts remain relevant today.

Of course, Jesus Christ Superstar lives and dies by its score.

This is not an easy sing. The vocals are relentless, the rhythms complex, and the emotional demands immense. Not every song landed perfectly throughout the evening. There were occasional cracked notes and moments where pitch wandered. Normally, those issues might have pulled me out of the experience. Here, however, they felt secondary to the energy, commitment, and sheer enjoyment radiating from the stage. This cast attacked the material fearlessly, and that enthusiasm carried the production forward.

At the center of the story are Nathaniel Fomby as Jesus and Izzie Howell as Judas.

Fomby delivers a subtle and deeply human portrayal of Jesus. His performance reveals the fears, disappointments, doubts, and regrets of someone carrying an impossible burden while watching events unfold beyond his control.

Opposite him, Howell provides the perfect counterbalance. His powerful rock-and-roll vocals anchor the show from the opening number onward, particularly in the electrifying "Heaven on Their Minds." Together, Fomby and Howell create a dynamic relationship that drives the narrative and serves as the emotional heartbeat of the production.

This is a large ensemble, and I cannot mention everyone, but a few performances deserve special recognition. Nick Riley is an absolute knockout as Herod. His appearance injects a burst of theatrical electricity into the evening, and his rendition of "Herod's Song" earns some of the night's biggest laughs and loudest applause.

Zachary Gonzales brings a dark, imposing presence to Caiaphas, supported by an impressively deep vocal register. DJ DelVecchio shines as Annas, showcasing remarkable vocal range. From SpongeBob to Annas... what can't DJ do? One of my newer Palace favorites, Theron Howard once again proves impossible to ignore whenever he steps onstage.

The choreography by Matthew Kennedy is another strength of the production. Drawing from contemporary, hip-hop, and even touches of vaudeville, Kennedy creates movement that feels modern without feeling forced. More importantly, it showcases the strengths of the cast. What stood out most was the obvious joy with which it was performed. Too often contemporary movement can feel executed rather than experienced. Here, the performers genuinely looked like they were having fun. That enthusiasm spread throughout the theatre. Audible “oohs" and “ahhs" could be heard throughout the evening as the audience responded to the energy pouring off the stage.

Several moments stayed with me a little longer than others. Howell's "Heaven on Their Minds" immediately establishes the production's momentum and stakes. The staging of "The Last Supper" is one of the cleverest directorial choices of the evening, and one I refuse to spoil. Riley's showstopping "Herod's Song" nearly brings the house down. And then there is "Superstar," a thrilling explosion of music, movement, and spectacle that sends the production soaring toward its conclusion. You'll understand why these moments stood out when you see this production for yourself. And yes, you should.

Special recognition must also go to the live band. In a rock opera, the musicians are far more than accompaniment. They are storytellers. Hearing this iconic score performed live is a privilege, and the band delivers the power, urgency, and excitement necessary to propel the show from beginning to end. Their work is consistently outstanding.

For me, this stands as the finest Georgetown Palace Theatre production I have reviewed since 2018. It may not hit every note perfectly, but it captures something far more important: the excitement, energy, joy, and communal thrill that make live theatre unforgettable.

Runtime: 2 hours including intermission.

Jesus Christ Superstar

Music by Andrew Lloyd Webber 

Lyrics by Tim Rice

Directed by Jamie Rogers

Now playing through July 5th, 2026

Fridays and Saturdays at 7:30 PM

Sundays at 2:00 PM

Extra show: Saturday, June 27 at 2:00 PM 

No show scheduled on Saturday, July 4, 2026

Georgetown Palace Theatre, Springer Stage 

2120 N Mays St #290, Round Rock, TX 78664

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