On stage in Sanford’s Theatre West End, depicted by Adam Delmedico in the ice-cold victory neer at the beginning of “Jesus Christ Superstar,” Caiaphas, the High Priest, takes to the stage to perform a distinctive guitar lick at the beginning of “Jesus Christ Superstar.” He wears a totalitarian black, and his fools are quickly chasing poor families, babies.
If ICE doesn’t come to mind, you’re on the wrong show. Director Tara Cromer devised a heart-pounding moment for Andrew Lloyd Webber’s 1971 rock musical, a firm setting, from Johnny Jones’ contrasting costumes to promote suitability and celebrate individualism in a rainbow banner that takes pride in the noisy “Hosanna” number.
There is a propaganda poster in the Roman coin urges President Trump as Caesar, urging him to “Deport! Deport! I’ll ask you a question later.”
But Cromer’s vision is not a biography of 2,000 years ago, but the most important indicator that what’s fresh and vibrant is the nature of the cast itself is the rainbow of race, sexuality and gender identity that Jesus declares to be on earth for everyone. There are no exceptions. Each of these performers brings their own unique selves to the stage along with Flair.
There is another aspect to the show that reflects the modern era. There is a very strong rage, and Judas deliberately stepping into Jesus. That level of anger certainly reflects what many feel, but it’s a mixed bag in the context of the show.
Ay òfé mi Demps sings resolutely silently from Judas, and her rage gives fire to her performance. And even if a modern touch to the death of a “traitor” eliminates the artistry found in the ropes by many productions, it makes Judas’ ultimate uncertainty more meaningful.
But the sense of anger reduces some of the intriguing nuances of the show, like a change of tone, as the crowd smiles at Jesus, fights for them, dies for them. And when it is Alastater Milburn in the title role literally flips the table, it takes away the power of Jesus’ wrath in the temper.
However, many of this productions collide correctly in the intestine thanks to Chromer’s attention to detail. This is a production that allows the unknown apostle to be immediately identified as John. He is the disciple that Jesus loved.
And what you keep looking at faces from face to face to react in the moment: Demps sees what Judas sees as betrayal, Jeremy Hudson’s handwork and ward’s sick Pilate, especially the handwash as Del Medico.
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But sometimes it feels as if the text is overlooked. Pilate describes Jesus as having an “unforgettable, hunting type” appearance, but Milburn is not actually the case. Interestingly, Milburn adopts stylized movements, imitating and uttering Jesus’ teachings, making the hero a kind of avatar.
The hermosquito look and voice performances that travel between registrations also help to give this Jesus a symbolic quality as a representative of everyone. In an intriguing way, it makes less of a show about Jesus and a call to action for his followers.
One extraordinary decision removes the emotional layer. King Herod is played by child actor Parker Williams. Parker Williams serves as a portrayal of people in authority as a tantrum-throwing blat. But without the adults in the role, the joke won’t land, and the scene loses the threat it should be there under the laughs.
The traditional Broadway Rasmatas dance and “The Song of King Herod” offer one of many opportunities to admire Crispen’s dynamic choreography. This resonates from the sharply curious movement of the opening “What’s The Buzz” to the slow movement of “Hosanna” Chaos’s slow, revived title song.
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Like Mary Magdalene, Aviana Tat beautifully places her stamp on “I don’t know how to love him” with quiet strength. Thanks to Parker Labonte’s sound design, Tim Rice’s lyrics are loud and clear. It’s particularly impressive when the band of music director Justin Andrew Adams swings around – oddly enough, the six-chord progression of the title of the show doesn’t get the fanfare worthy of.
But listen to the lyrics that land differently in modern contexts as well. Especially when we consider how the Bible is often used these days to justify hatred in place of the love that Jesus has professed.
“Every words you say today are twisted, “Curn in another way,” Judas sings about Jesus’ teachings.
oof. It’s another gut punch in the show filled with thrilling to them.
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“Jesus Christ Superstar”
Length: 2 hours including break: Theatre Westend, 115 W. 1st St. in Sanford When: June 15 Cost: $36 and up info: TheatreWestend.com
Original issue: 6am, June 4th, 2025
