First and foremost, a quick history lesson: on July 13, 1971, 13,000 people filled Pittsburgh’s Civic Arena. Those excited concertgoers were the first ones to see an authorized performance of what was then only a concept album, with music by Andrew Lloyd Webber and lyrics by Tim Rice. That concept album — and later smash-hit rock opera, with long runs on both Broadway and on London’s West End — was “Jesus Christ Superstar.”
The sung-through show has enjoyed several successful revivals and tours, a live television broadcast version starring John Legend and Sara Bareilles and regular appearances at community theaters and school auditoriums (especially during Lent). Continuing its long local tradition, Pittsburgh Musical Theater’s production is running at the Byham Theater in Downtown Pittsburgh through April 13.
The plot of “Jesus Christ Superstar” will be familiar to anyone who went through Sunday school. It follows Jesus, Judas, Mary Magdalene, Pontius Pilate and other figures of the Bible’s New Testament through Jesus’ final days and crucifixion. The show digs deeper into the mindsets of Jesus and Judas especially, and many Christians over the years have criticized it for being too sympathetic to the traitorous apostle.
The rock opera, of course, also uses modern music to portray Jesus as something of a mythical rockstar figure. PMT latched onto this with other aesthetic choices, especially their inspired costume design by Jeremy Eiben. The ensemble and most of the apostles were dressed in denim, flowy skirts and earth tones, evoking hippies and folk rock, while Judas was given a glam rock/punk look and the flamboyant King Herod was, well, straight up dressed like Elton John.
Set and lighting design also contributed positively to the rock concert atmosphere. The set — designed by Todd Nonn — was spare, featuring mostly scaffolding that musicians and actors used to great effect. Lighting designer Forrest Trimble also shone bright, ramping up the drama of the stage lights in the second act to arena-rock levels and very cleverly placing Jesus in the center of a white cross of spotlights during portions of the second act.
The production’s directors (Danny Herman, Rocker Verastique and Lucas Fedele) also used the whole space of the Byham to great effect, introducing and ushering out performers in the aisles. Judas’ entrance at the show’s opening was particularly striking as they sang up to an onstage Jesus from the theater’s floor.
All three directors were also choreographers, and the dance moves in this show were amazing, with the ensemble really getting into the groove and the second-to-last number, “Superstar,” being a music-video-worthy performance. Music director Francesca Tortorello took the challenging and iconic score to new heights — literally — with musicians placed throughout the cast and stage. Many of the cast themselves also played, whether guitars, tambourines or the violin.
One small quibble comes with the sound. A musical that’s all singing really relies on lyrics being understood by the audience, and the sound could have been clearer at Friday night’s performance.
The voices singing those lyrics were far from lacking, however. This may be sacrilegious (to both churchgoers and theatergoers) but I’ve always felt that Judas is the true lead role of this rock opera, and Treasure Treasure did not disappoint in their portrayal. While the louder, rockier moments of Judas’ songs really soared, it was their performance of the second act’s more plaintive “Judas’ Death” that proved really moving.
Brecken Newton Farrell as Jesus, on the other hand, was most effective during the louder “Gethsemane” toward the second act’s beginning, howling and snarling in desperation with rockishly raw vocals. That was in contrast to his serene and sweet portrayal earlier in the show. He also did some tremendous physical acting that brought goosebumps. Kamilah Lay was a lovely Mary Magdalene, especially in her most tearful scenes. And Paul Lutty III had a rich and ominous vocal tone as Caiaphus, perfectly befitting the Pharisee.
There were also smaller-role MVPs, with Justus Wheatley’s memorable high notes during Simon Zealotes’ song in act one. And the role of King Herod is always a trip — I admit, I’m a sucker for Alice Cooper in the 2016 televised special — but Taylor Isaac Gray was a fabulous choice for this production, drawing audible laughter from the audience in the midst of a very serious story and displaying an effortless swagger that matched the character.
Music is a huge part of faith, and it also allows us to connect with one another, express emotions and passion, broaden our horizons and see well-worn tales from new perspectives. This production of “Jesus Christ Superstar” checks all of those boxes and does it all with a great deal of style.
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Pittsburgh Musical Theater’s “Jesus Christ Superstar” will run through April 13 at the Byham Theater in Downtown Pittsburgh. Tickets are available at pittsburghmusicals.com.