Jesus Christ Superstar rocks and inspires

Austin Lesch and the cast of Jesus Christ Superstar. Photo by Diane Sobolewski

By Peter Marteka

Before finding my seat at The Goodspeed, I found myself recollecting all I knew about Jesus Christ Superstar. It wasn’t much – the chorus from the main title song sometimes pops in my head over the years and I’ve always loved the Helen Reddy version of the ballad “I Don’t Know How To Love Him.”

After the show? I felt like I had participated in a religious awakening disguised as a musical featuring the music by Andrew Lloyd Webber and lyrics by Tim Rice. And that was a good thing.

According to the informational boards next to The Goodspeed gift shop (everyone should read these before the show), only a year after the Jesus Christ Superstar album’s release, the musical made its debut on Broadway in October 1971. And 55 years later, Goodspeed Musicals christened its own version, an impressive way to open the 2026 season.

“The show was considered a cultural phenomenon,” according to the board. “Some loved it, some hated it, but no one could deny that it had left an impact on the theatre industry.”

Jesus Christ Superstar tells the story of the final days of Jesus, much of it through the eyes of Judas played with show-stopping vigor by Austin Lesch. Whether it was singing “Everything’s Alright” or “Superstar,” Lesch absolutely rocks and you can feel the conflict inside of him through the songs. I wouldn’t be surprised if people boating along the Connecticut River could hear his voice as they passed by.

Jesus played by Justin Matthew Sargent was equally up to the task. The song that showcased Sargent’s voice and acting prowess was “Gethsemane.” And Jesus Sargent can sure hold a singing note as noted by the gasps and then applause and cheers from the audience.

Obviously, I couldn’t wait to hear Stephanie Zaharis’ take on “I Don’t Know How To Love Him.” It was great. In the words of those popular singing shows on television, she made it her own with her take on the song. Her duet with Jack Hale (Peter) “Could We Start Again, Please?” became a new favorite for me.

“King Herod’s Song,” with Herod played by Nicolette Antonia Shin while sitting on checks notes - a swing was a daring leap, but it seemed to work and was a hit with the audience. Caiaphas and the Priests also provided some comic relief with the deep-baritone voice of Jamari Darling playing off Kevin Trinio Perdido as Annas and Elijah Dawson and Michael James as the priests.

The musical can be pretty intense for younger audiences. I found the numerous whippings of Jesus Christ to be a little much and uncomfortable. But maybe that was the point. The end of Judas also took a bit too long. The musical hits the right melancholy notes with the final moments of Jesus Christ.

Can we talk about the sand? I think it worked and who would ever think dancing with sand would be so mesmerizing? Intermission resembled a Zamboni clearing the ice at a hockey game with members of the stage crew shoveling and sweeping up the sand in mounds. Honestly it was the first intermission I’ve ever enjoyed at a play.

Director Tatiana Pandiani and choreographer Amy Campbell get high marks for keeping the show moving and using the confines of The Goodspeed perfectly. Again, it’s amazing what can be done on the stage of The Goodspeed. The dancing was astounding and I especially enjoyed “Superstar” and “Everything’s Alright.” Music direction? Always spot on by Goodspeed’s resident Music Director Adam Souza.

Jesus Christ Superstar runs through June 7. Curtain times are Wednesdays at 2 p.m. and 7:30 p.m.; Thursdays at 7:30 p.m. (with select performances at 2 p.m.); Fridays at 7:30 p.m., Saturdays at 2 p.m. and 7:30 p.m.; and Sunday at 2 p.m. (with select performances at 6:30 p.m.).

Tickets are available through the Box Office (860-873-8668), open Monday through Friday at 11 a.m. or online at goodspeed.org.