Review: JESUS CHRIST SUPERSTAR at Ordway Center For The Performing Arts

The Ordway’s new run of Jesus Christ Superstar (Dec. 9–28) feels less like a traditional musical and more like you’ve wandered into an arena concert that happens to tell a story. It’s loud, fast, and fully committed to the rock-opera roots of the original, and the returning tour cast brings a level of confidence that only comes from performing the show night after night.

Jack Hopewell’s take on Jesus is strong from the start, but he really hits another level during “Gethsemane,” when he tears into the song with a mix of frustration and clarity that pulls everything into focus. Opposite him, Elvie Ellis gives Judas a restless energy—always moving, always thinking, and clearly wrestling with the weight of his choices. The tension between the two of them carries the show.

Faith Jones brings a calm, grounded presence as Mary. Her performance doesn’t try to reinvent anything; instead, she leans into honesty and warmth, which makes “I Don’t Know How to Love Him” land more quietly but no less powerfully. The rest of the principal roles—Isaac Ryckeghem as Caiaphas, Ethan Hardy Benson as Pilate, and Kodiak Thompson as Annas—each add their own flavor without tipping into caricature.

The ensemble deserves a real shout-out here. They move nonstop, often in tight formations or explosive bursts of choreography, and they keep the stage alive even during transitions. You can feel how dialed-in they are: Wesley J. Barnes, Joshua Bess, Kalei Cotecson, Jaylon C. Crump, Lydia Ruth Dawson, Savannah Fisher, Domanick Anton Hubbard, Haley Huelsman, Josh Jordan, Cameron Kuhn, Tommy McDowell, Hosea Mundi, Caroline Perry, SandyRedd, Icis Hammond, Darren James Robinson, Erich W. Schleck, and Cooper Stanton all help build this intense, pulsing world.

Visually, the show stays pretty minimal—no elaborate sets or big scenic tricks. Instead, sharp lighting and clean staging do most of the heavy lifting, which ends up suiting the music better than a cluttered backdrop would have. The band is a force of its own, leaning all the way into the rock sound, and it keeps the show moving with almost no downtime.

In the end, this production doesn’t try to soften Jesus Christ Superstar or turn it into something prettier. It leans into the grit, the noise, and the raw emotion of the score. If you’re up for a high-energy, modern-feeling version of the show, the Ordway’s staging delivers exactly that.

For more ticket and show information, click the ticket link button below.

Minneapolis / St. Paul Awards - Live Stats

Best Musical - Top 3

1. 9 TO 5: THE MUSICAL (Eagan Summer Theatre)

13.3% of votes

2. URINETOWN (Buffalo Community Theatre)

10.8% of votes

3. CHURCH BASEMENT LADIES (Rags to Rags Productions)

7.9% of votes

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