Review: JESUS CHRIST SUPERSTAR at Open Stage At The Forum

Andrew Lloyd Webber and Tim Rice’s rock opera Jesus Christ Superstar began as a concept album before opening on Broadway in 1971. While some religious groups found the show to be offensive for various reasons, it was highly successful, leading not only to many stage productions but also to several film adaptations (the first in 1973) and a televised live concert version in 2018 featuring John Legend and Sara Bareilles. Open Stage presents Jesus Christ Superstar under the direction of Stuart Landon, with stage manager Stacy Reck, vocal director Nicholas Werner, youth vocal director Delaney Reed, conductor Anthony Pieruccini, and choreographer Zsuzsanna Smith, at The Forum in Harrisburg one weekend only through March 22nd.

The set (by technical director Kalina Barrett and crew members Laurence Carter, Bob Caton, Karen Gasser, Chris Gibson, Lane McCabe, and Ben Rand), costumes (by Jacob Schlenker and Carol Manzer), props (by Rachel Landon), and lighting (by Tristan Stasiulis with Chet Cole, Chris Gibson, and production manager Karen Ruch) create the perfect atmosphere. There were a series of unfortunate sound issues on opening night that made it difficult to hear everything clearly at times, but the cast was phenomenal in their perseverance, finding ways to project their powerhouse voices and utilize working microphones as much as possible. The band, featuring Anthony Pieruccini (Guitar 1/Band Director), Brad Barkdoll (Guitar 2), Nicholas Werner (Keyboard 1), Wayne Landon (Keyboard 2), Jeremy Blouch (Bass), and Dani Fiore (Drums), is incredible, grabbing the audience’s attention from the first notes of the well-known “Overture” and keeping the momentum going throughout.

The cast is massive, featuring numerous ensemble members, including a youth ensemble (Bryce Carter, Nick Caton, Beckett Copus, Ian DAndrea, Janelle Karns, Anna Lavelle, Xavier Logan, Annie Logan, Annika Nguyen, ZJ Park, Selena Swigart, and Lucas Terry) and ensemble (Ash Aguayo, Melinda Anderson, Neela Binder, Patty Cole, Adrienne Connaghan, TJ Creedon, Emilee Eaton, Pam Eusi, Travis Houtz, Jessica Jacobs, Chris Krahulec, Jess Logan, Hailey Lockner, Vivienne Lowe, Marley Luckenbaugh, Chelsea Nasatka, Delaney Reed, Selena Rooney, Chloe Sinder, Ozzie Sitch, and Quentin West), as well as a dance ensemble (Erica Binder, Areanna Hope Kroll, Scarlet Min-Border, Michael Roach, Zsuzsanna Smith, and Carolyn Wagner), Priests/Guards (Bobby Downey, Luke Rider, and Brian Silva), Apostles (Joseph Chubb, Jasmine Graham, Ethan Daniel Hommel, Em Kase, Anthony Leukus, Andrew Metcalf, Gage Shackelford, Keel Warner, and Malcolm Xtra).

The ensemble fills the space with an energy that is simply electric. They produce a wall of sound with wonderful harmonies, and they are so in synch with one another that it is easy to understand every word of the ensemble numbers. The ensemble’s performance in “What’s the Buzz”, “Hosanna”, and “The Temple/Make Us Well” are particularly engaging. The dance ensemble is one of this reviewer’s favorite elements of this production. Binder, Kroll, Mink-Border, Roach, Smith, and Wagner draw the eye with their flawless presentation of the choreography, heightening the emotional intensity of each song. This reviewer would see the show again just to witness their remarkable dance performance.

The Apostles really bring “The Last Supper”, “The Arrest” and “Crucifixion” to life, as the audience witnesses their often conflicting emotions throughout act two. Drew Patti and Tyler Shadle give phenomenal performances as Simon Zealotes and Peter, respectively. Patti’s vocals are strong, gritty, and stirring in his act one solo, while Shadle’s gorgeous clear tones are highlighted beautifully in “Could We Start Again, Please?”.

Those who enjoy a good villain, this show is filled with villains who capture the imagination. David Ramón Zayas and Joshua Dorsheimer take on Caiaphas and Annas, respectively. Zayas’s stage presence combined with his deep bass vocals are mesmerizing. Dorsheimer’s effortless tenor vocals create a beautiful contrast with Zayas’s voice. Charissa Moye’s performance as Pontius Pilate is riveting, overflowing with strength and emotion. TJ Creedon is delightful as King Herod, lighting up the stage with his larger than life performance.

Isaac Austin portrays a wonderfully conflicted Judas, bringing the character’s complex emotions to the surface. While there were some pitchy moments, it is one of the most vocally demanding roles, and Austin’s moody, intense portrayal makes those moments easy to overlook. His interactions with Carly Lafferty’s Mary Magdalene and Brad Leer’s Jesus of Nazareth are filled with just the right amount of tension and frustration. Lafferty’s performance as Mary Magdalene is powerful, showing strength in the character’s sweetness and caring for Jesus. Her vocals are well-suited to the role, making “Everything’s Alright”, “I Don’t Know How to Love Him”, and “Could We Start Again, Please?” audience favorites. Leer indeed gives a “superstar” performance as Jesus. He acts the part perfectly, shining a light on the very real human emotions of Jesus and his moments of anger, fear, grief, and distress. His vocals are impeccable, soaring throughout the auditorium.

One of this reviewer’s other favorite elements of this production is the staging. They use every entrance and aisle, surrounding the audience and making them feel as though they are part of the story. The use of a cross-shaped platform and movable scaffolding is creative and offers opportunities for many symbolic moments throughout the performance.