Review: JESUS CHRIST SUPERSTAR at James Street Players

Powerhouse vocals, evocative choreography, and a deep emotional connection define director and choreographer Matthew I. Quinn’s vision of Andrew Lloyd Weber and Tim Rice’s timeless and timely rock opera, JESUS CHRIST SUPERSTAR.

From the moment we entered the theater, cast members in cult-like attire mingled with the audience and guided them to their seats, immediately setting the mood. The production began by including the audience in a tour group led through a museum toward a "Jesus Christ" exhibit with the Holy Grail and Da Vinci’s “The Last Supper.” This original opening, created specifically for James Street Players, transported the audience from the modern world into the ancient.

When Judas Iscariot, played brilliantly with dynamic vocals and heartbreaking conviction by Jay Braiman, attempted to steal the golden chalice, we were drawn into his grief, conflict, and guilt by harsh, red lighting and a troop of slithering dancers. The troop of 5 almost never left the stage, visually conveying the struggles of our lead characters and often portraying the dark side of their minds through complex, unique choreography.

The massive cast, led by Giovanni Marine’s Jesus of Nazareth, was very well blocked into organized chaos. From Act One’s “What’s The Buzz?” to Act Two’s “Crucifixion”, there was a true sense of frenzy and ecstasy. The cult-level obsession and mob mentality were most palpable after “The Temple” as the crowd relentlessly pawed at Marine in a rhythmically writhing horde while he repeated over and over, “It’s too many.”

Giovanni Marine delivered a refreshing, modern take on Jesus. He brought a distinct grounded energy to the role, which was supported by his galvanizing vocals. “Gethsemane” was a tour de force, as Marine expressed the anger, angst, and confusion over his fate. His intense connection to the part was evident during the crucifixion sequence, as he drew the audience in through his physicality and largely nonverbal presence.

Mary Magdalene, played by Lorraine Leal in this performance (Mahi Singh in alternating shows), was a delicate, adoring admirer of Jesus of Nazareth; a soft compliment to Marine’s strength.

James Carey as Pontius Pilate was rich, robust, and riveting. His puissant vocals commanded everyone’s attention from the moment he began “Pilate’s Dream” and didn’t let us go until the final note of “Trial by Pilate/39 Lashes”.

The set by Michael Devenau and Matthew I. Quinn was both simple and impactful. Temple steps wrapped and led up to the stage, transporting us to the Holy Land. A roughly painted, almost empty black and white backdrop created a blank slate for lighting designers Michael Devenau and Michal Riccio to create scene-specific moods through their intense color choices. The set and lighting combined to evoke both ancient and modern imagery, illustrating that the story of Jesus Christ is not only an ancient tale but a modern warning.

Janet Kowal and Jenn Durso had the task of costuming this enormous cast. Jesus of Nazareth was perfectly outfitted in what could easily be seen on the streets of ancient Jerusalem or walking the runway today. Once again, reinforcing the idea that these events are both ancient and contemporary.

Under the musical direction of Andrew Timmins, the 4-piece band delivered consistent rock-band vibes throughout the show.

The second half of Act 2 was non-stop tension, conflict, and emotion straight through the climax of “Crucifixion”. The angst, fear, and love were palpable and didn’t leave a dry eye in the house.

Playing through 4/26/2026. For tickets, click the link below.

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