REVIEW: ‘Jesus Christ Superstar’ is a glorious vocal showcase and an aching human drama
“An imposing sense of scale and a powerful ensemble allow this touring production of the classic rock opera to explore our own flawed humanity.”
The idea of humanizing Jesus Christ isn’t necessarily novel. In fact, believing that he was always fully human in addition to being fully divine is already a core tenet for most Christians—which means that the depiction of Jesus’ vulnerability in Jesus Christ Superstar isn’t exactly shocking. This is still the familiar story in which the growth of Jesus’ reputation as a radical folk hero led to his execution at the hands of the Roman Empire. But what this touring production of the Andrew Lloyd Webber and Tim Rice rock opera also does is examine what humanity looks like, not only in Jesus but in the rest of us who bear witness to this story.
Joshua Bess and the Jesus Christ Superstar International Tour Company, photo by Vitt Salvador
Jointly produced by GMG Productions, David Ian for Crossroads Live, and Worklight Productions, this version of the musical (which was originally staged at the Regent’s Park Open Air Theatre in London in 2016) hews closer to its origins as a concept album, placing its primary focus on its performances and the interpretation of Lloyd Webber’s score. In this form—and with the right combination of actors on stage—this Jesus Christ Superstar takes on a massive sense of scale, boasting one powerful vocal showcase after another. And through its chilling closing moments, it still manages to encapsulate the all-too-human experience of surrendering to the unknown.
Mystery of faith
As soon as the curtain rises, the production expresses this mystery through Tom Scutt’s generally nondescript set. Two-story steel structures and equipment transport cases surround a large cross-shaped walkway, which ramps upwards to a similar-cross-shaped passage at the back of the stage and tree branches ominously seen beyond. When used in tandem with Lee Curran’s lighting—a mix of front-facing concert lights and deep, atmospheric colors—the stage can become quite evocative despite its lack of a specific setting. The lights almost seem to signal the presence of a divine force. And when darkness comes at the inevitable end of Jesus’ Passion, the cross left in shadows becomes a symbol of both cruelty and reverence.
L-R: Javon King (Judas, Grant Hodges (Caiaphas); Photo Credit: Vitt Salvador
Not everything in this Jesus Christ Superstar is visually coherent, however. It isn’t entirely clear why microphones are such a prominent motif, nor is it a fully convincing choice to have the ensemble dressed in baggy streetwear. While the costuming serves a practical purpose, it can’t help but feel like a missed opportunity for storytelling, especially when a stressed-out Jesus removes one tank top in frustration just to reveal another one underneath. In contrast, the priests and political figures such as Pontius Pilate and King Herod wear striking, glam-inspired outfits that convey a more decadent kind of lifestyle. And the use of silver paint and gold glitter builds in significance up until the tragic conclusion.
Story of injustice
But even without specific markers for time and place, it isn’t difficult to latch on to the tension between these characters and the general situation playing out. Rice’s lyrics intentionally make use of more casual, anachronistic language to keep these people familiar and relatable to the political concerns of the time, rather than making them seem like mythic figures. It is, after all, an age-old story about ordinary people trying to provide aid and empowerment to the underprivileged, and whose interpersonal conflicts are then manipulated by state forces in order to suppress them.
Still, director Timothy Sheader’s dedication to presenting Jesus Christ Superstar in a more abstract way does muddy the storytelling in the first act. Constant movement between songs keeps certain numbers from really sinking in, and those who aren’t totally familiar with the material may lose track of which characters are supposed to be singing. Drew McOnie’s choreography also isn’t always easy to access—especially when a principal dancer is given a more prominent part in several scenes—but in time, the ensemble’s repeated movements also start to look like a frantic ritual of prayer. More importantly, they shift in temperament without hesitation; the same crowds praising Jesus are also quick to condemn him.
It’s when act two begins that Jesus Christ Superstar really finds its full confidence. The Passion narrative is told in a fast-paced sequence of intense situations, with Jesus’ humiliation and torture culminating in a chilling, emotional finale. Sheader and sound designer Nick Lidster successfully bring this loud, exuberant musical to a solemn close—the story of Jesus Christ emphasized as a story of injustice.
Choir of angels
Capturing the political climate of the world following the boom of 1960s anti-establishment counterculture and the American civil rights movement has kept Lloyd Webber’s score fresh in musical theater. His compositions evoke a wide range of hard rock, funk, folk, and gospel styles of the time. And here, Harry Haden-Brown’s musical direction sharpens the music even more, building to a fever pitch during “Judas’ Death” and “Trial Before Pilate,” which become overwhelming walls of sound.
Luke Street (Jesus) sings Gethsemane; Photo Credit: Zeus Martinez Photography
None of this works without a capable cast, and this Jesus Christ Superstar comes fully armed. As Caiaphas and Annas, respectively, Grant Hodges and Kodiak Thompson represent the strict, sardonic authority of ancient religious law. There are also Will Silver’s stadium-ready vocals as Simon, Thomas McFerran’s country crooning as Peter, Erich W. Schleck’s manic glam performance of “King Herod’s Song,” and Ethan Hardy Benson’s harsh, sneering Pilate—while Gab Pangilinan lets Mary Magdalene’s warmth and kindness ring out with remarkable clarity.
However, as understudy for Jesus, Joshua Bess (who played the role for the show’s gala performance) has noticeable difficulty reaching the screeching high notes required, and approaches the character as too withdrawn and angsty. His sort of pop-punk tone works far better when providing a unique accent to the ensemble. Meanwhile, as a wide-eyed, scheming Judas, Javon King doesn’t fully convey the character’s tragedy but his sheer vocal acrobatics are impressive all the same.
Ricardo Afonso as Judas; Photo Credit: Zeus Martinez Photography
Where this Jesus Christ Superstar articulates itself best is in Luke Street’s Jesus and Ricardo Afonso’s Judas. Afonso’s intricate runs and mournful wailing make for a more mature Judas who becomes truly horrified at his act of betrayal. And Street’s confidence and assured relationship with Jesus’ disciples are gradually consumed by his fear of his ultimate destiny—building to a masterful “Gethsemane,” where his every anguished shriek soars with rage, bitterness, and frightened acceptance. There’s nothing more human than that.
This reviewer watched the 7:30 PM, May 5 performance and the 6:30 PM, May 17 performance.
Tickets: P2,010–7,400
Show Dates: May 2–31, 2026
Venue: The Theatre at Solaire, Parañaque City
Running Time: approximately 2 hours (with a 20-minute intermission)
Company: GMG Productions, David Ian for Crossroads Live, Worklight Productions
Creatives: Andrew Lloyd Webber (Music), Tim Rice (Lyrics), Timothy Sheader (Direction), Tom Scutt (Set Design, Costume Design), Drew McOnie (Choreography), Harry Haden-Brown (Musical Direction), Nick Lidster (Sound Design), Tom Deering (Musical Supervision), Lee Curran (Lighting Design)
Cast: Luke Street, Javon King, Ricardo Afonso, Gab Pangilinan, Ethan Hardy Benson, Grant Hodges, Kodiak Thompson, Thomas McFerran, Erich W. Schleck, Will Silver, Joshua Bess, Ashley Chafer, Filippo Coffano, Kalei Cotecson, Joshua Dormor, Savannah Fisher, Elizabeth Fullalove, Icis Hammond, Domanick Hubbard, Jake MacPhee, Jessica Meegan, Caroline Perry, Sandy Redd, Jordan Michael Todd
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