In this production, Jesus causes a media frenzy that is broadcast on a giant video screen that they use extensively throughout for a variety of purposes, which include his appearance on news and entertainment programs, beautiful background sunsets and moonlit nights, and various other clever uses. It generally works great, although it is a bit overused, at times distracting and detracting from the actors during scenes in which they should be the only focus (especially when verses and messages are displayed that you have to read and can’t just glance at). In just a few of the other modern touches, Jesus speaks at a microphoned podium during his acceptance of the “International Humanitarian of the Year Award” that is a huge televised event, instead of reporters we have “paparazzi,” and the sick and handicapped who converge on Jesus to beg for healing are not lepers but hospital patients attached to mobile IV-poles.

Costumes by Tamara Myers also went a great way in making this J.C. Superstar something special. There’s a nice blend of stylish contemporary outfits and classic fashions popular 2,000 years ago. And nothing could get a bigger reaction than Herod’s outrageous costume donned by the equally outrageous Joey Minnich – his enormous feathered hat, outlandish digs, and Elton John-like sunglasses complementing his singularly outrageous performance that all helped to make by far the most amusing scene in the show.

Other memorable performances include the loving aura and lovely voice of Stephanie Saunders as Mary Magdalene singing I Don’t Know How to Love Him, John Iocolano making the most of the role of the Roman governor Pilate who reluctantly and spinelessly condemns Christ to death, and the deep-voiced Caiaphas (Kirk Boughner) who encourages that ruling. Not to mention, of course, the stars of the show. Christopher Howe does a nice job portraying Jesus during his last painful days, struggling with his followers, his traitors, and facing his own mortality. Victor Chan has the strong and wide-ranging voice that is hard to find but necessary for Judas.

Overall, it’s truly a remarkable and innovative show produced with terrific imagination and insight, a talented ensemble, not to mention all the fantastic visuals and a fine job by the orchestra in one of the more difficult musical scores. The only disappointment was an anti-climactic “Temple” scene in which Jesus is supposed to lose his temper and toss tables over to scare the merchants away. Just yelling at them to leave lacks the drama of the scene, and it is doubtful they would have left without a more physical demonstration of Jesus’ will. Religious conservatives who have sometimes frowned on Jesus Christ Superstar may be appeased with an additional scene CCT has added to the end, rather than ending with the bittersweet, ambiguous ending of the original. 

But the best scenes (and there are many, especially in the second act), begin with Herod and, as the tension steadily rises, include a fantastic Trial scene in which all the members of the ensemble take turns running across the stage and flogging Jesus. Finally, great choreography (K.C. Grulli) and an amazing depiction of the Superstar scene in which Judas and his three female demons (another nice touch used throughout) lead a chorus in hell asking Jesus why he did things the way he did them, and continue asking him even as Jesus walks up to his suffering destiny on the cross which they present in spectacular fashion.

You won’t see another Jesus Christ Superstar like this one – a thoroughly original production staged under the stars and right below the brightly lit cross on the top of Mt. Helix.