Buffalo Theatre: This fresh take on the classic rock opera delivers powerful vocals and emotionally charged moments

By Nathan Andrew Miller

All photos courtesy of the Musicalfare Theatre Facebook page.

Score one for Musicalfare’s season scheduling — my annual Easter viewing of Jesus Christ Superstar is no longer required. (Who am I kidding? I’ll still probably watch the original movie.)

What began as a rock opera concept album featuring Deep Purple frontman Ian Gillan (Jesus), West End superstar Murray Head (Judas) and club singer Yvonne Elliman (Mary Magdalene) has grossed more than $237 million worldwide. Jesus Christ Superstar is a sung-through musical based on the Gospel of John, documenting the last days of Jesus. Superstar debuted in the West End and had a stint on Broadway before it became a motion picture in 1973, starring Elliman reprising her role of Mary Magdalene, Carl Anderson as Judas and Ted Neeley as Jesus — a role he played well into his sixties.

Suffice to say, I went into Musicalfare’s production as a bit of a fan — and Michael Oliver-Walline and Randall Kramer’s co-direction immediately dictates the mood of the evening. The ensemble takes the stage during the Overture, collectively breathing and welcoming the audience into the world with an absolutely electric guitar solo by Philip Farugia (pun intended). The concept incorporates video screens, sometimes used to project live filmed images. The concept for this production is abstract, feeling simultaneously biblical and present-day, while allowing the cast’s work to speak for itself.  And with this talented cast and the tremendous score, there’s a lot of speaking to be done!

I’ll start with the ensemble — a living, breathing aggregate of individual characters that enhances the overall experience. Many of the ensemble members step into featured roles throughout the evening. Taylor Carlson as Simon Zealotes makes the most of the “rabble rousing” in her number, using her incredible vocal instrument to navigate a song usually performed by a man. In fact, there are lots of casting decisions outside of the “traditional” casting of the show, as with Carlson’s Simon and Ember Tate-Steele as Peter. The standout performance, however, comes from Kris Bartolomeo as King Herod. What a number — I won’t spoil it!

And then we turn to the principal players. Lily Jones, as the Roman governor Pilate, shows us a glimpse into the tortured soul behind the complicated character. It’s a truly definitive performance from a performer I’ve long admired. As Mary Magdalene, Aimee Walker brings a level of calm to the stage that makes her “Everything’s Alright” a focal point; you watch her truly entice Tiger Brown as Jesus to relax and think of nothing. Oliver-Walline’s choreography focuses a lot on physical touch and connection, and Walker is a master of specific and organic movement to achieve intention.

Because positive touch and connection are so important for Jesus and his apostles, it’s intentionally jarring when Judas, played by Quinn McGillion, is deprived of it. He’s isolated from the group long before he chooses to betray the man he loves and admires. It’s these staging specifics that kept me engaged with the production. McGillion, by the way, is re-establishing himself as the magnetic rocker in this role. He’s always had an exceptional talent for rock scores, but this one is epic. He finds another level in Act 2, absolutely shredding in “Judas’s Death” and finding old school gospel prowess in “Superstar.”

Tiger Brown deserves a special spotlight. I shared my row on opening night with some Artie voters and other press alike, and I nearly campaigned on his behalf to just give him the Artie right then and there as he finished “Gethsemane.” It’s my personal opinion that he’s owed one for his performance in Songs for a New World, anyway. To say that Brown is perfect for this role may be an understatement. His natural offstage personality tends to be calm and soft-spoken, but charismatic as hell — and he’s the most in tune with what I believe this production is trying to achieve. I mentioned that connection before — that desire to be physically connected to the group — and there is a poignant moment right before “Gethsemane” where Jesus begs his followers to stay awake with him. Brown, as Jesus, physically appeals to these disciples, only to have one literally turn his back on him. Brown is in excellent voice throughout, but his Act 2 exchanges with McGillion are worth the price of admission.

Overall, the opening night of the production was not without technical hiccups and, in my opinion, trouble with the mix of the in-house live band. Still, one can expect that with repetition and growth, this production will reach the great heights it aspires to. As someone who really despised the recent national tour of Superstar, I’m happy to see a local production that, while it challenges the “traditional” staging or concept, finds the depth and meaning in the score and the well-known story.

Nathan Andrew Miller has a BFA in Theatre Performance and a BA in English from Niagara University and has been reviewing theater in WNY since 2015. Nate is also an actor and director at various local theaters.