Jesus Christ Superstar

A Super Production by Berkeley Playhouse

By: Victor Cordell - Feb 25, 2025

This reviewer has attended only several performances at Berkeley Playhouse in my decade of criticism, not because they don’t produce good theater, but because their musicals are usually too familiar to me or not in my wheelhouse (though I loved last fall’s The Prom).  The decision to see Jesus Christ Superstar was an unenthusiastic one,but informed by its success on Broadway and the West End.  However, the appraisal of the musical and especially this production is definitely enthusiastic.

Artistic Director Kimberly Dooley, who directs as well, had dreamed for three decades of mounting her vision of this show.  Her commitment comes through in the brilliant outcome, which is interwoven with superb singing and acting by principals and ensemble along with absorbing choreography, costumery, and lighting to produce a many-layered aural and visual extravaganza.

The story is one of the most familiar in western culture and the cornerstone of Christianity – the betrayal and crucifixion of Jesus Christ as depicted in the Gospels of the New Testament.  Composer Andrew Lloyd Weber and librettist Tim Rice recount and extrapolate upon the last days of Christ, especially his relationship with his betrayer Judas Iscariot and the loyal prostitute Mary Magdalene.

Though some non-Christians could be put off by the topic matter, not only does the narrative contain many universalisms, but it can be wholly interpreted through alternative filters.  Perhaps the most poignant is seeing it as a metaphor for the repudiation of McCarthyism and the House Un-American Activities Committee, with the roles of the venomous accusers, evil betrayer, and victim clearly delineated.

Jesus Christ Superstar is written in a sing-through mode, so the story is told in song, much of it in soliloquies.  The lyrics are literate yet highly accessible, and while the music is uniformly appealing, it can actually distract from understanding the nuances of the plot as the tunes compete with the words for mind space.  A couple of particularly melodic and catchy songs from the score have thrived successfully outside of the musical.

Jesus is portrayed with passion by Deanalis Arocho Resto whose strong singing wails with absolute electricity in the highest range as when Jesus confronts the moneylenders and avoids the lepers in “The Temple” and among his confused followers in “The Last Supper.”  Arocho Resto also deftly captures the ambiguity, contradiction, and rage specified by Weber and Rice.

Preferring to view Jesus as angelic, many conservative Christians object to his characterization.  But the creators’ viewpoint is even inserted into the lyrics of the most popular song in the musical, Mary Magdalene’s “I Don’t Know How to Love Him,” when she expresses that “He’s a man, he’s just a man….” which is the Weber/Rice viewpoint not favored by many Christian adherents.  At the same time, Jews are offended since Judaea was part of the Roman Empire, and thus Pontius Pilate ultimately approved Christ’s death.  Yet the agitated crowd of Judaeans (i.e., Jews) is implicated as responsible instead.  In the end, no resurrection, essential in the Christian canon, occurs, and it is fair to question what the authors hoped to convey.

The other two lead portrayals are strong as well.  A fine foil to Resto, Sydney Jacobs Allen is Judas, who despite the betrayal, is shown in a somewhat sympathetic light, sometimes having higher standards of personal behavior than Christ himself and faulting him accordingly.  Jacobs Allen stands out as an actor and singing the bluesy lead-in to the iconic strains of the title song.  Lucca Troutman plays the prostitute Mary Magdalene, who paradoxically, is the most caring and brave of Christ’s followers, despite being scorned by Judas.  Troutman also gives a warm rendering of Magdalene’s signature song.

The action plays mostly on Kuo-Hao Lo’s abstract stage comprised of several platforms having backdrop projections with dramatic and dynamic lighting by designer Mark Thomas.  A large ensemble of singer/dancers demands an abundance of outfits, and Costume Designer Ashley Renee answers the call with several distinctive categories of different styles and periods.  Choreographer Kevin Gruwell has endowed the extensive dancing with a highly diverse, expressive vocabulary appropriate to each situation and emotion.  The movement of the ensemble is compelling and often explosive.

Music Director Michael Patrick Wiles conducts a small orchestra that plays with the usually desired exuberance.  On occasion, however, especially when singers are in the lower and weaker part of their range, the orchestra overpowers, which is problematic as the plot is being delivered through the lyrics.  Note that Joshua Beld as Caiaphas is not in the group with weak lower range, as he drops into a basso profundo with ease and conviction.

Another political issue concerning this production deserves comment.  The current administration’s attack on Diversity, Equity, and Inclusion is a transparent embrace of racism and sexism of all varieties, suggesting that ascent in any endeavor by other than a white bread, heterosexual man results from unfair advantage granted women and minorities of all ilks.  The bulk of the lead roles in this cast are performed by women or non-binary people of color though only female character is Mary Magdalene.  The creative team and supporting actors are of both genders and could include LGBT members.  Each creative designer and performer has contributed with consummate skill.  No apologies needed.

Jesus Christ Superstar, composed by Andrew Lloyd Weber and with lyrics by Tim Rice, is produced by Berkeley Playhouse and plays at Julia Morgan Theater, 2640 College Avenue, Berkeley, CA through March 30, 2025.