Stage Review - Jesus Christ Superstar (Bremerton Community Theatre)

Stage Review - Jesus Christ Superstar
Presented By: Bremerton Community Theatre - Bremerton, WA
Show Run: April 04 - May 04, 2025
Date Reviewed: Saturday, April 05, 2025 (Opening Weekend)
Run Time: 2 Hours (including a 15 minute intermission)
Reviewed By: Greg Heilman

Jesus Christ Superstar, the rock opera co-written by Andrew Lloyd Webber (music) and Tim Rice (lyrics), is one of those productions with a backstory that is almost as interesting as the story that unfolds on stage. The piece had an inauspicious beginning, after the pair met resistance in finding a producer for a stage version of the show, they released the sung-through production as a concept album, which eventually led to a 1971 Broadway premiere, and given the track record of Webber and Rice, that was probably a foregone conclusion. What wasn’t, though, was the success the show has had since that premiere, with multiple revivals on Broadway, and a record-setting run on the West End, before it was taken over by another Lloyd Webber musical, Cats. As popular as it has become, though, it hasn’t been without its share of controversy. The story, which focuses on the story of the passion of Christ, the time leading up to Jesus’ capture and crucifixion, takes a different perspective of the story, not looking at Jesus as a god-like figure, but rather someone who is a victim of the benefit of chance in time and place, painting Judas as a more sympathetic character, and not presenting a resurrection story arc. Many religious groups found these aspects blasphemous or otherwise upsetting, but these were all purposeful, and moreover the musical includes many modern references, attitudes, and language, thereby causing consternation among some of the biblical conservatives. All that said, the musical speaks for itself. The best versions of Jesus Christ Superstar are high energy, enthusiastic, and rollicking affairs that leave the audience inspired, regardless of anyone’s particular religious leanings. Bremerton Community Theatre (BCT) has chosen Jesus Christ Superstar as the latest installment in their 2024-25 season, in a production directed by Rana Tan and running on stage through May 4. The BCT version is a departure when it comes to presenting this show, it’s less raucous rock concert and more standard musical, which in and of itself is a challenge, Andrew Lloyd Webber has been quoted as saying “The funny thing is that Jesus Christ Superstar [as a rock concert] is what we actually intended it to be. When it is done in a conventional proscenium theatre production it feels shoe-horned in.” So, as this version is more of the “conventional proscenium theatre production”, it’s almost starting behind the proverbial 8-ball, but that doesn’t mean it’s doomed, a challenge could be an opportunity.

Regardless of type of presentation, whether a concert or something closer to a standard musical, the extent to which Jesus Christ Superstar succeeds or doesn’t has everything to with its energy and enthusiasm, and in this regard, this production isn’t without its struggles. Sound, specifically volume, is a battle from the outset. In a show that is categorized as a rock opera, a certain volume level in the musical accompaniment is expected. It should be something akin to a concert, something that fills the room with sound in all ranges and frequencies, that launches the show and creates the level of energy that should be sustained through the entirety of the program. Instead the music skews on the softer side, as if the volume is set to accompany the singers onstage rather than to set the level at which the singers should reach for. From the opening Overture and into the first musical numbers, which feature Eric Spencer as Jesus, Erik Lawrence as Judas, Harley Lampkin as Mary Magdalene, and the ensemble of Apostles, the overall volume is extremely low. It’s abundantly clear that each of these actors has the vocal talent to make each of these numbers work, and work well, they most definitely hit all of the notes, but it’s just difficult to hear them. The ensemble’s volume generally matches that of the canned tracks that are the background music, background music that lacks much of the low end bass range and fullness one would associate with a rock opera, which means it’s a challenge for folks, especially those in the back rows of the auditorium, to hear them, just as it is when Erik sings upstage from the ensemble, or when Eric turns away from the audience to sing toward Jesus’ Apostles. There are times of vocal quality that excel in volume and energy, especially Skye Campbell’s performance as Annas in “This Jesus Must Die” and the true highlight of this production, Erik Lawrence’s work as Judas along with the Soul Sisters and Angels ensembles in “Superstar”, the marquee number from Jesus Christ Superstar. Otherwise, many of the numbers are plagued by volume issues and pacing, meaning that some of the quicker tempo songs tend to “get away” from the actors singing them. “Superstar”, as a musical number, contains all of the right components and is delivered with the passion, soul, and energy that I expect from the entirety of this piece. It’s Erik Lawrence losing himself in the music, projecting through the entirety of the auditorium, and the background singers performing with perfect harmony, executing their choreography in unison, seemingly relaxed and passionate about their performances. Other ensemble numbers in the show seem to have varying levels of enthusiasm from the group, and in a show that should have every single person in the cast performing with passion and a certain vivacity that adds energy to the program, something the audience can feel. A prime example of the energy that I’m talking about can be found in Skye Campbell’s performance, not just as Annas, but also in their ensemble roles. Skye is all in on this performance, and it’s a real delight to watch the energy, volume, and fullness of their voice in each scene, though of course the downside to one person projecting so well is that they stand out in the ensemble numbers, which causes the vocals to be out of balance, with that one voice being noticeable above all of the others.

This challenge with the sound in this show, and this is going to sound odd coming from me, could surely be addressed by using microphones for the cast, that and increasing the volume of the background music, though I wonder if the sound system at BCT can support the full range of frequencies (bass, treble, and midrange) needed for this music, if canned tracks are going to be used. Microphones would mitigate the volume discrepancies from those singing upstage vs. downstage, or from those singing with their backs to the audience, and surely be able to increase the volume and equalize the balance within the ensemble, they would also add a little more “umph” to Jesus’ last words on the cross, which without any amplification sound more like a whisper. All of this is to say that the group that Rana has put together has the ability, and the general quality of their performances, regardless of their volume levels, are quite good. Angela McDermott is the show’s vocal director, and she has her fingerprints all over this show, from the harmonies in the ensemble performances, to that passionate performance of “Superstar”, there are still a lot of things to like in this show that is sung all the way through, meaning that the delivery of the show has to be a team effort, between Rana as director, Angela as vocal director, and Stephanie Clarke as choreographer. Stephanie’s choreography isn’t altogether complicated per se, but she has put together movement that works well within Rana’s set, the majority of which is the open area of the stage, backed by a series of Roman arches. Behind the arches is a wall that is used to project lighting of different colors, this aspect of the creative design, from Ian Shaw, perhaps the most inventive of the production. From the illumination of Jesus in white entering among his followers, to the green of envy, to the red of betrayal, the lighting in this play is extremely well done, one of the highlights for me. Rounding out the creative team is Kristin Bradberry as costume designer. Kristin’s work is top drawer, from the Jewish priests to the peasants to the angels, along with Jesus, Judas, and Mary, each costume feels biblical and perfect for the characters for which she designed them. Well done.

Most people, regardless of religious persuasion, are familiar with the story of the passion of the Christ. The musical generally follows the plot of that story, with some details left out, some artistic license taken on attitudes and actions, but all and all it covers the major points. Jesus, a healer, teacher, and minister of the gospel, has developed a following, including his closest followers, his Apostles. His increasing power is viewed as a threat by Caesar and the Romans, so Caiaphas, the High Priest of Israel, gathers a group of priests, who all agree that if that is that case, that the Romans go after Jesus and his followers, that innocent Jews may suffer as a result. Therefore, they determine that Jesus must be executed. At the same time, Judas, one of Jesus’ Apostles has a similar concern, that Jesus is gaining too much power and, as a result, has lost sight of his original messaging. What Jesus Christ Superstar does, musically, is that it looks at this story from the perspective of each of these other parties, bringing a bit more humanity to the story of Judas, or Caiaphas, or Mary Magdalene, who has long been judged negatively throughout biblical history, as well as figures like Pontius Pilate and King Herod. The characters aren’t necessarily sugar coated here, but there is more thought given to them, and especially with Judas, he’s given more of the anti-hero treatment than being written as an enemy to Christ. The story takes the audience through his (Judas’) betrayal to Caiaphas, through Jesus’ lashing at the hands of Pilate, his dragging of the cross through the streets, and through to his crucifixion and ultimate death. The stage in the Robert Montgomery Auditorium at Bremerton Community Theatre is large, as compared to many others in the county, but for something like this, it’s perhaps not as sizable a canvas as Rana could use to make this as big of a show as it needs to be, but I will say that from a creative point of view, she’s done a nice job, and though the energy of the show is up and down throughout Act 1 and into Act 2, once the piece hits “Superstar”, which represents the visiting of the spirit of Judas while Jesus awaits his fate, not only is it performed well, but it’s also when the show hits its high water mark creatively, carrying the show to an end that is ultimately stunning.

The cast here is talented, and with the right technical support and consistent amount of volume and enthusiasm, this show has the potential to be extremely good. Even so, many of the leads do have moments in which they shine. I especially like Erik Lawrence as Judas, particularly when he doesn’t hold himself back. His voice is capable of filling the auditorium, as he shows in “Superstar”, and especially when he’s upstage, behind the ensemble, it is hard to hear, though when he’s not, he’s among the strongest voices in the piece, as is Harley Lampkin as Mary Magdelene. Harley has a sweet voice for this role as well, and in moments like “I Don’t Know How to Love Him”, she presents a soft side of her character that humanizes her in a way few stories do. With Eric Spencer as Jesus, there’s definitely a feeling of a character that’s less than god-like, and that’s by design, the Jesus in this story is more human than god, and Eric does well to portray that, but it’s after the Last Supper scene, when he sings “Gethsemene (I Only Want to Say)” that Eric is at his best. It’s a pleading song, but also one of resolution as Jesus attempts to reconcile what has become of his life, and his relationship with his god. Additionally, there’s Skye Campbell, whom I can’t say enough about, whose energy and fullness of voice are perfect for this show, as are Miah Campbell’s for the character of Caiaphas. As the High Priest of Israel, Miah presents a posture of authority, and a richness of voice, though volume is a bit of an issue in the lower reaches of their range. Regardless, I do like Miah’s work in this role. Supporting the leads is a group that consists of Wallace Ross as a Pontius Pilate that is more troubled than we’ve seen in other versions of the story, more conflicted about the decision to put Jesus to death, Dan Engelhard as Herod, who has the fortune of performing one of my favorite musical numbers from the show, Kyle Clearwater as Simon, and Chris Tallon as Peter. The ensemble in Jesus Christ Superstar is made up of Darcy Alban, Katherine Donohue, Sasha Jones, Clara Jordan, Emily Kasper, Richard Mozingo, Pete Simpson, Daniel Smith, Rana Tan, Amaya Vincent, and Alyssa Weber. This is a sizable cast, and if they were to let themselves go, I’m sure the sound they could produce would be big enough to fill the entire Montgomery theatre.

Jesus Christ Superstar, the 1971 rock opera from Andrew Lloyd Webber and Tim Rice is a musical that blends the styles of rock, folk, gospel, and funk, creating a loud and energetic musical experience that should leave audiences feeling inspired, or even spiritual. Stylistically, the Bremerton Community Theatre production has what it takes to be successful, from the perspective of talent, the show has everything it needs to excel, the only thing left is to add volume, emotion, and enthusiasm, and this production will soar. Though BCT’s Jesus Christ Superstar is plagued generally by volume issues, from its pre-recorded tracks to its individuals, and through to the ensemble, there are a number of bright spots scattered throughout, and it has what I feel is one of the most stunningly presented last 15 minutes of any show that I’ve seen this season. If this production is an investment of your time, make sure you stay to the end, it’s well worth it to be patient and experience that final payoff.

Jesus Christ Superstar runs on stage at Bremerton Community Theatre through May 4. For more information, including ticket availability and sales, visit https://www.bctshows.com/.

Photo credit: Kathy Berg