Theatre Review: ‘Jesus Christ Superstar’ at Riverside Center for the Performing Arts
Dr. Mark Dreisonstok - MD Theatre Guide
April 01, 2025
The cast of “Jesus Christ Superstar” starring Kevin Cleary as Jesus (center). Photo by Suzzanne Carr-Rossi.
As we are in the season of Lent with Holy Week upcoming, Riverside Center for the Performing Arts is staging a revival of Andrew Lloyd Webber and Tim Rice’s famous, rock opera, “Jesus Christ Superstar.” Director Patrick A’Hearn brings this production to life with wonderful singing by a talented cast, exciting choreography by Stephanie Wood, and costumes executed by designer Armando Perez. The show is often biblical, frequently hippy (honoring the time period of this Andrew Lloyd Weber musical), but also a bit like today—all elements which ultimately make this a timeless narrative of the accounts of the Gospels of the last days of Jesus of Nazareth.
…wonderful singing by a talented cast, exciting choreography…
Kevin Cleary as Jesus of Nazareth has a very effective voice and strong stage presence, but perhaps most effectively in the Cleansing of “The Temple,” “Gethsemane,” and “Crucifixion.” In the scene of the Agony in the Garden of Gethsemane, he falls forward in front of the stage, itself shaped like a crucifix.
Anthony Nuccio is revelatory in his portrayal of Judas Iscariot. He is a constant presence, sometimes menacing, sometimes perplexed, but always obsessed with the person of Jesus. He enters the stage first with a tour de force “Heaven on Their Minds.” Mr. Nuccio’s portrayal of Judas’ growing self-disgust is also very effective, showing us why he is ultimately compelled, per the biblical narrative, to take his own life.
As Mary Magdalene, Kiley Ernest sings a wondrous “I Don’t Know How to Love Him.” She incorporates elements of gospel style into the song, which complements the rock opera elements of the show. The song is unexpectedly reprised by Mr. Nuccio the end.
Anthony Williams as Caiaphas, high priest and leader of the Sanhedrin, has a magnificent deep voice which is used to full effect in “This Jesus Must Die.” Similarly Pippert (as Pontius Pilate) is in excellent voice for “Pilate’s Dream” (presumably based on a dream Pilate’s wife has in Matthew 27:19).
A standout scene features Kathy Halenda, an unexpected female Herod. With a commanding stage presence and fabulous voice, she gleefully embodies self-satisfied political power in her a very Broadway-like number, “King Herod’s Song.” This particular scene went over especially well with the audience.
The orchestra, conducted by keyboardist Carson Eubank and consisting of everything from the electric guitar of Forrest Link and the trumpet of Stephen Patterson, is effective at bridging both heavy rock and Broadway aspects of the show. The performance begins and ends with the cast in a recording studio, reminding the audience that—unusual for a Broadway musical—the record album preceded the staging of the musical.
The set design by Christian Fleming is spartan, but effective, with large stone pillars representing Jerusalem. The lighting is done well, as when a bright light behind Jesus suggests a halo and later a crucifix attached with lights.
If there is any concern about the show, it may be the acoustics. Sometimes it is difficult to make out the lyrics of the show, especially during big numbers. Fans will likely not find this a concern, but people new to the show could find this to be problematic. Surtitles, or perhaps a lyric sheet in the program, might help with this.
Overall, this production is a very effective, though, of course, modernized, version of the Passion, while retaining many very traditional elements. Sung by Mary and Chris Florio as Peter, “Could We Start Again?” occurs after Peter has denied Christ three times. The song’s title indicates Peter will be the rock upon which the church is founded and (according to tradition) become the first pope. On the other hand, Jesus’ being overwhelmed at the volume of people seeking healing, as well as lyrics in “I Don’t Know How to Love Him,” perhaps acknowledge the thoughts of those less convinced of the divine nature of Jesus. As always, this musical encourages reflection on its subject matter. For instance, there is an instrumental piece called “John 19:41.” It is left for the audience to look up the passage which reads in part: “Now in the place where he was crucified there was a garden; and in the garden a new sepulchre, wherein was never man yet laid.”
Running Time: Approximately two hours with one 20-minute intermission.
Advisory: Contains some intense scenes which may not be suitable for young children.
“Jesus Christ Superstar” runs through April 27, 2025, at Riverside Center for the Performing Arts, 95 Riverside Parkway, Fredericksburg, VA 22406. Dinner is served two hours prior to show start, though non-dinner tickets are available as well. For more information and to purchase tickets, please go online.