Third Wall Productions, you know I love you. Did you see I waved? I believe in you and your show so tell me that I’m saved! If you’re ready to rock and roll along with the best of them, Third Wall Productions is bringing you that iconic Andrew Lloyd Webber musical Jesus Christ Superstar and it’s the most solid production that they’ve had so far! (In their new home at Chestnut Grove Presbyterian.) Directed by Mike Zellhofer, with Musical Direction by Will Zellhofer, and Choreography by Kristin Rigsby, this rocker-ballad-concert show that was game-changing when it was first released as a concert album will have you tapping, clapping, and emoting all throughout the performance.
Not without a few hiccups and bumps, mostly in the sound-department, the show is solid. Sound Techs Charles Hirsch & Zach Stuart are still finessing the nuances of balance, particularly when it comes to microphones of soloists up against the live pit orchestra. Bit of a muddle at times but at other times really spot on. Musical Director Will Zellhofer leads an excellent pit (consisting of himself of keys, Lynn Graham on keys2, Winfield Clasing on drums, Kevin Jones on bass, Dave Kistler on guitar1, Peter Weitzmann on guitar2, Stephen Kaltreider on horn, Welsey Freeman on trumpet, Jamie Kim on clarinet, Dan Longo on tenor sax, and Merrell Weiss on flute) though at times they overbear some of the musical moments during group numbers. Zellhofer has an excellent handle on the orchestra pit, keeping not only timely rhythm and pacing but catching those moments where sung lines get ahead, behind, or off of the beat and adjusting accordingly. Microphone issues and the overall sound balancing aside, the harmonies of the performers, the vocal strength of the ensemble singing as a whole, and the intricate riffs radiating out of the pit are all quite impressive.
With a simple backdrop and plinth (and of course a roll-drag cross) serving as the set, Pat Rudai and Marc Graff keep the scenery simple; it’s a balancing point for Jim Shomo and John Miller’s overzealous lighting. While there are definitely moments here Shomo & Miller find the stillness, the subtleness and the beauty of their lighting effects— particularly the shadow-silhouette play at the lead-in for “Damned For All Time/Blood Money.” The effect of the blue-twilight and ‘dancers of shadow’ there is truly striking. As is the stillness of the light when Jesus sings “Poor Jerusalem” and “Gethsemane.” Where the unhinged, off-the-rails doesn’t work is in places where it detracts. You have so much lighting chaos happening during “The Temple” that when Jesus storms in to cast out the madness, you almost miss the effectiveness of that really cool lightning-red-blinking-strobe that gets employed in that moment to emphasize his fury. Or the swiveling chaos of the red, white, and blue background lights during the titular number near the end; yes, the star go-bos are perfect there but the patriotic American flag lighting doesn’t match. It’s a mixed bag with Shomo & Miller’s lighting this go-round; for every stunning moment they get right— like the strobing during the back half of “Trial By Pilate”— there seems to be something that is just too busy, causing too much chaos, and is too flashy/showy.
Setting the aesthetic tone for the production, Costume Masters Amy Rudai and Caitlin Johnston really pull together this unique array of inspirations that reads something like Bohemia met Sadam & Gamora under a moonlit sky in Galilee. It’s really impressive. And there’s a boatload of sequins in all the right places— like the temple hats of the high priests— and some really rich gem tones that color out a lot of the gals, particularly the featured dancers. High praises are to be laid on Rudai & Johnston not only for the colorful array of costumes and design work but for the way the fit each outfit to both the character and the performer. All too often, particularly at the community level, costumes are ill-fitting, or not allowing for free movement among the varied body shapes and types of performers; Rudai & Johnston have that well in hand and everyone not only looks good in their various costumes but they appear to be loving them. Highlights of the show’s sartorial selection include the amethyst-lavender harem attire for the gals in Herod’s court and of course the couture featured on Herod himself— which is literally singing Elton John from the moment he appears on the stage.
Something that Director Mike Zellhofer and Choreographer Kristin Rigsby do exceptionally well for this production is utilize the space. The stage is not broad nor deep and although it does get a little ‘full’ at times, you never get the sense that it’s overly crowded. Zellhofer, as the show’s director, brings a lot of the performance’s action down into the house, through the aisles, and Rigsby, as the show’s choreographer, keeps a cordon of six featured dancers moving up on the stage to highlight some more of the choreographable moments. Featured dancers include Beth Dixon, Jamie Franzoni, Sarah O’Hara, Hope Pallanck, Jessica Preactor, and Samantha Rudai. These superb six women do a fine job of executing Rigsby’s dance-technical choreographic moves, particularly the kick-line featured at the end of “King Herod’s Song.” The entire ensemble takes up the energetic and enthusiastic routines that Rigsby sets forth throughout the performance and it helps keep the show’s overall momentum rolling. Just like Stage Manager Ann Pallanck keeps the scene changes rolling for a swift overall execution of the performance. What stands out in this production in terms of Zellhofer’s direction, in addition to the overall pacing and generalized selection of talent in their various roles, is the little moments on which he chooses to focus. Opening the second act with a still-life scenic capture of “The Last Supper” portrait with the actors is both clever and cute. The ‘devils of darkness’ dance that precedes the actual number “Damned For All Times/Blood Money” is another powerful moment that is striking and unique. Choosing to dress Herod (Greg Dorsey) like Elton John, starting the lepers from the four corners of the auditorium during the scene in the temple, dragging the cross through the house, and the overall presentation and execution of “Trial By Pilate” are all impressive choices that really showcase Zellhofer’s years of directorial experience. Some minor sight-line issues notwithstanding, it’s clear that he has a real vision for this show. (Though someone should probably tell him wine bottles didn’t have labels in Christ’s time.)
Including the aforementioned six super dancers, the ensemble (Rachel Bagley, Hanna Brayton, Alex Classing, Susan Liberati, Dan Luber, Jamie Luber, Rita Mallouh, James Meadows, Gabe O’Hara, Brooklyn Ritter, Elena Ritter, Eva Ritter, Amy Rudai, Pat Rudai, Victoria Rudai) is chock-a-block with vocal strength. There are even a few times where their supporting vocals can be heard resoundingly over the featured vocals (balancing issues will hopefully correct themselves in time) but it’s incredible to hear such tremendous sound, particularly when they’re in celebratory songs like “Hosanna” and “Simon Zealotes”, which is led by the upbeat and spunk Mars Duque in the eponymous role. Duque has a strong and clear vocal presentation for this number and really amps up the energy that spreads ubiquitously throughout the cast for the dance routine featured therein.
Casting quite the shadow of judgement over the whole scenario are the high priests— Joe Weinhofer (as Caiaphas) Nick Ruth (as Annas) and Mitch Fishbein (as Priest.) There are a great many synchronized and choreographed moments of ‘disproving arm-crossing’ featured among these three and the way they stand stoically atop the plinth near the back of the stage, ever-present, ever-staring, ever-judging is just creepy (in a delightful sort of directorial choice kind of way.) Ruth and Fishbein add solid sounds and harmonies to “This Jesus Must Die” and “Damned For All Times.” But the runaway sensation, leader-of-the-pack is Weinhofer as Caiaphas. With that sinful basement bari-bass sound, he nails the role second to none but it’s his facial expressions that really do the trick. With intense resting-fury-face, Weinhofer is really engaging this all-knowing-all-judging persona, and if looks could kill, you’d hit the crucifixion at the top of “Hosanna” and we wouldn’t need the whole rest of the production! Truly a gem on the stage, his presence and vocal capabilities tie together a brilliant darkness among this trio.
Tackling what is arguably the best performance I’ve ever seen the man give, Paul Ballard brings a level of intense nuance and shocking versatility to Pontius Pilate. With a serenely beautiful ballad in the first act, Ballard slips his way into “Pilate’s Dream” with the vocal ease of a practiced virtuoso. (Another brilliant moment from Zellhofer’s visionary brain as Pilate comes up the main aisle through the house as Jesus comes down from the stage and the pause, staring at one another as they pass, all the while Pilate is singing the lyrics of having this prophetic dream about a Galilean.) But the unhinged, unfettered intensity and growling frustration that Ballard brings to Pilate for “Pilate and Christ” is blindsiding. Ballard redoubles that effort for “Trial By Pilate” and you get shivers. But the true pivotal moment is during the count-up somewhere around 29 or 30 when you can see (through glimpses of the well-executed strobing effect for the whipping) the change in Pilate— where Ballard takes on the full emotional capacity of what’s happening to the character and embraces that transition wholly. It’s a remarkable showcase of both Ballard’s versatility as an actor and his capabilities as a singer.
With a surface-sweet and winsome sound, Natalie Beller delivers a crisp, cool Mary Magdalene, which creates a lovely balance against Gage Wright’s Jesus Christ. You get to hear her mellifluous voice drift along like a burbling brook during “Everything’s Alright” and again in its reprise. There’s a genuine emotional turmoil that frustrates its way to the forefront of her rendition of “I Don’t Know How To Love Him”, and considering how easy it is to lay back into the beautiful simplicity of that musical number (whose tone got set by Sarah Brightman so many moons ago), it’s a refreshing change of pace to see the emotional struggle that Beller presents in real time with this song. You also get the gorgeous vocal complimenting of voices when Beller has a wrap-around duet with Kirby Smith (who plays Peter) in the back half of Act II, when they sing “Could We Start Again Please?” This is one of the most perfected harmonies performed in this production and its lovely to hear it.
Casting against the script is always a choice whether its meant to be or not and it certainly reads with connotations or implications whether they’re intentional or not. With Mea Holloway in the role of Judas the connection between Judas and Jesus becomes muddled. There isn’t a strong flavor of romances, that often gets perceived when Judas is played by a woman but there isn’t that heady sense of bro camaraderie present either. It feels a bit like Holloway is presenting a concert version of Judas’ songs, which she does with gusto (although the earlier numbers like “Heaven on Their Minds” does not sit as comfortably in her vocal wheelhouse as “Superstar” does.) Holloway comes into her own when it comes to her emotional and facial expressions, particularly during the very symbolic and striking-to-watch climax of “Judas’ Death.” (This is not a spoiler. If readers don’t know that Jesus dies, Judas dies, Hamlet dies, and the Titanic sinks…) There’s also a great ton of energy being funneled into her efforts for “Superstar” where she gets what are arguably the coolest pair of pants in the production.
As a baritone-range singer, Gage Wright does phenomenally impressive things with this Jesus of Nazareth to make it his own, compassionate, believable, earnest character that you really feel for and fall for from the moment he arrives through to the curtain call. When he slips delicately up into falsetto to ease his way through “Poor Jerusalem” you get this sense that he’s singing the troubles directly to you, almost conversationally but with deep, unyielding empathy. The vocal acrobatics get kicked into Olympic-quality gear both during “The Crucifixion” and “Gethsemane (I Only Want to Say)” but it’s the latter of those two numbers that is really the powerhouse, definitive moment for Wright’s Jesus in this production. It starts gentle, almost delicate but then Wright unleashes this hell-fury of self-anguish, doubt and fear that is so raw and gutturally emotionally that it’s a damn-near eviscerating experience. You get spine-tingling chills from the intensity with which he attacks the middle of that number. And when Wright settles out the end of “Gethsemane”, the weight of being God’s chosen son is so palpably crushing on his shoulders that your own start to ache just from watching him. It’s truly an astonishing performance, embracing the role in his own way, honing it to be something extraordinary with both visceral emotional gravitas and a voice that can still blast away at the breaking point of his own range.
So JC, so JC, will you go *see* JC? The answer is you should. It’s by far the best production that Third Wall Productions has offered on this side of the pandemic and will readily give you a lot of feel good songs but also a powerful story told and performed well.
Running Time: Approximately 1 hours and 55 minutes with one intermission
Jesus Christ Superstar plays March 8th 2024 through March 24th 2024 at Third Wall Productions, in residence at Chestnut Grove Presbyterian Church— 3701 Sweet Air Road in Phoenix, MD. Tickets are available by at the door or in advance online.
To read the ‘Local Limelight’ interview featuring Paul Ballard as Pontius Pilate, click here.
Everything’s alright, yes, everything’s fine
