“A co-production with Thousand Islands Playhouse and Western Canada Theatre that understands Jesus Christ as counter-cultural in the past and present. Some fascinating and clever directorial choices create visually beautiful pictures and emotional moments.”

The 1000 Islands Playhouse bills its co-production with Western Canada Theatre as an “explosive, dynamic telling of the last week of Jesus’ life, full of iconic music, exhilarating dance, and stirring performances. [Superstar is a ‘quintessential rock musical] story of passion and betrayal following the exuberant faith of Jesus’ followers, the betrayal of Judas, and the devastating finale.”

Loosely based on the Four Gospels of the Passion of Jesus Christ (Michael Cox) in his last week of life, much of the plot of ‘Superstar’ centers on the brooding disciple Judas (Nico Solarte), who becomes dissatisfied with how Jesus steers his disciples.

(ADDENDUM: I received an email recently from Artistic Director Brett Christopher the sound issues have been fixed from opening night.)

There’s good stuff happening on the Springer stage in telling this iconic Catholic-Christian story, both vocally and in performance delivery. There are moments when Andrew Lloyd Webber’s haunting music and Tim Rice’s poignant lyrics convey a direct message. When this happens, it becomes electrifying as I can feel the hair on my arms and the back of my neck stand right up.

Music Director Clare Wyatt captures the vocal intensity nicely in the moving rendition of 'Gethsemane.' 'Judas's Death' becomes mesmerizing as the technical elements of sound, design, and actor performance all come together to highlight the wayward disciple's final complete understanding of Christ's influence and the perils of his going against it.

This co-production effectively showcases Christ's enduring influence as counter-cultural, both in the past and present. It's truly electrifying when it occurs here.

The intimate stage at Springer Theatre is well-suited to Robert Sondergaard's scaffold set design, featuring three significant exits and entrances that are used to purposeful advantage. Unlike in a large auditorium where scaffolding might obstruct the view, the audience can easily see the characters' facial expressions as they enter. There is no need for teleprompters to watch the action.

Sondergaard's lighting shades are often sharply focused, incorporating shadows and darkened areas to underscore a scene's mood. This is particularly noticeable in the second act, during the scenes in the Garden of Gethsemane and the 39 Lashes when the soldiers carry out their commanded actions towards Jesus.

Stephanie Kong has done her homework in costume designs and made confident choices. Michael Cox's blue shirt symbolizes international peace, which is quite fitting. Nico Solarte's dark-coloured costumes depict a brooding young man. The earth-tone colours worn by the ensemble members are also a good choice. The apostles are portrayed as working-class, ordinary men, and their costumes of subtle tears and gentle rips reflect that, another good choice. Nicol Spinola's choreography is executed with precision. There is thoughtful consideration behind the ensemble's movements when the lyrics are heard. The staging of Christ attempting to heal the lepers remains captivating.

Director James MacDonald sculpts a clear and clever vision that brings Christ to the people, not the other way around (as Christians are called to do). MacDonald uses effective stage techniques to show the audience where they are in the story. For example, during the Last Supper, ensemble members hold a white linen tablecloth to give the illusion of a table being present when it is not. The '39 Lashes' remains visually breathtaking. I put my pen away in my notebook and watched with simultaneous fascination and repulsion.

The energetic and lively ensemble enters from the back of the house at the top of Act One for ‘What’s The Buzz.’ That’s a solid choice because the audience can’t help but not get involved in the euphoria. That also occurs in ‘Hosanna.’

Rob Torr's Pilate is a standout in the show. Torr sings with clear restraint, and his strong intensity and physical presence show that he should not be provoked. Oliver Castillo delivers a playful and campy King Herod. Melissa MacKenzie remains a comforting Mary Magdalene, despite her true nature. However, there are moments in MacKenzie's vocal delivery where she over-emphasizes the vibrato of her voice. It becomes distracting and takes away from the impact of the lyrics.

Nico Solarte delivers a rock-star standout performance as Judas, despite some sound issues when the band overpowers him. His passionate portrayal of despair and anger truly shines. Michael Cox also impresses with his portrayal of The Christ, exuding subdued regality and charming charisma. The final image of ‘The Crucifixion’ is indelibly etched, with Cox divinely capturing the full implication of the Biblical reference: “It is finished. Father, into your hands, I commend my spirit.” The conclusion of the production is convincingly uplifting, and as a practicing Catholic, it resonates deeply in my heart, reminding me that death is not the end.

A Final Thought: In his Director’s Programme Note, MacDonald writes how ‘Superstar’s’ messages of love, forgiveness, acceptance and peace are at the heart of the story. Yet these messages can also be pulled apart by those threatened by them or seek to use them to their own ends.

This co-production beautifully highlights MacDonald's former thought. I hope the Playhouse has reached out to all local Christian/Catholic parishes to invite parishioners to share in a story that still needs to be experienced in our troubled world.

Running time: approximately 2 hours and 30 minutes with one interval/intermission.

‘Jesus Christ Superstar’ runs until October 27 at the Springer Theatre, 185 South Street, Gananoque. For tickets, visit 1000islandsplayhouse.com or call (613) 382-7020.

THE THOUSAND ISLANDS PLAYHOUSE, in co-production with WESTERN CANADA THEATRE, presents
JESUS CHRIST SUPERSTAR
Music by Andrew Lloyd Webber and Lyrics by Tim Rice

Director: James MacDonald
Music Director: Clare Wyatt
Choreographer: Nicol Spinola
Set/Lighting Designer: Robert Sondergaard
Costume Designer: Stephanie Kong
Sound Designer: Steve Marsh
Stage Manager: Laurel Oneil

Band: Clare Wyatt, Michael Capon, Sean Donaldson, Alex Panneton, Winston Vinh

Performers: Michael Cox, Nico Solarte, Oliver Castillo, Melissa MacKenzie, Alex Wierzbicki, Lauren Bowler, William Lincoln, David Michael Moote, Rob Torr, Jillian Mitsuko Cooper, Ryan Maschke.