JESUS CHRIST SUPERSTAR ROCKS THE GOODSPEED STAGE
By Kiersten Bjork (April 29, 2026)
If you know me, it’s no secret that Jesus Christ Superstar is one of my favorite musicals, so I was thrilled to hear that Goodspeed would be tackling the rock opera as the first show of their 2026-27 season. While it’s definitely an impressive production that features a talented company of performers, I wasn't sold on the overall concept and vision for this one.
Following the story of Jesus in the days leading up to his crucifixion and culminating in the events of Good Friday, Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar is an iconic musical that has been produced in a variety of ways. At Goodspeed, director Tatiana Pandiani sets the production in a desert, the stage covered in a layer of sand. The space is framed in blood-red, from the upstage arch to the boxes that are slid on and offstage to add levels for the actors.
It’s a rather dance-focused production, and I enjoyed Amy Campbell’s choreography. However, the ensemble choreography does tend to take over some scenes when I wished the principals were granted more of the focus of the number–particularly in “Superstar.” Dance is brought to the forefront in many key moments throughout the show, and while it’s mesmerizing to watch, it didn’t always feel like the choices served the story best in certain moments. Granted, some of this may be due to the limited width of the stage–this production has built the stage floor out over the pit area to allow for more playing space for the large, dancing ensemble.
If you know me, it’s no secret that Jesus Christ Superstar is one of my favorite musicals, so I was thrilled to hear that Goodspeed would be tackling the rock opera as the first show of their 2026-27 season. While it’s definitely an impressive production that features a talented company of performers, I wasn't sold on the overall concept and vision for this one.
Following the story of Jesus in the days leading up to his crucifixion and culminating in the events of Good Friday, Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar is an iconic musical that has been produced in a variety of ways. At Goodspeed, director Tatiana Pandiani sets the production in a desert, the stage covered in a layer of sand. The space is framed in blood-red, from the upstage arch to the boxes that are slid on and offstage to add levels for the actors.
It’s a rather dance-focused production, and I enjoyed Amy Campbell’s choreography. However, the ensemble choreography does tend to take over some scenes when I wished the principals were granted more of the focus of the number–particularly in “Superstar.” Dance is brought to the forefront in many key moments throughout the show, and while it’s mesmerizing to watch, it didn’t always feel like the choices served the story best in certain moments. Granted, some of this may be due to the limited width of the stage–this production has built the stage floor out over the pit area to allow for more playing space for the large, dancing ensemble.
Justin Matthew Sargent and the company of Goodspeed’s Jesus Christ Superstar (Diane Sobolewski)
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Austin Lesch and the company of Goodspeed’s Jesus Christ Superstar (Diane Sobolewski)
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Justin Matthew Sargent portrays the titular Jesus of Nazareth. He’s certainly got the rockstar vocal chops to tackle this role head on, though it was interesting to see that he didn’t choose to follow some of the opt-ups that have almost become expected for the part–especially in “Gethsemane.” Overall, he gives a strong performance throughout. It was actually his softer moments that spoke to me the most over the course of the show. His subtle acting beats with Mary, Simon, Judas, or Peter were particularly well played.
Austin Lesch takes on the complicated role of Judas Iscariot, and I was especially impressed with Lesch’s acting ability. His was another performance loaded with intimate moments of connection, reflection, conflict, pain, and so much more. Lesch finds bits of humor as well, and he crafted a unique version of the character, unlike any that I have seen so far. He also has a strong rock voice, though I was disappointed that he didn’t get to tackle the final vocal section of “Superstar” when Judas typically riffs over the top of the angels and Soul Girls. Instead, Judas rocks out on the electric guitar. While this was a fun choice, it very much caused Judas to feel less relevant in the number. He was off to the side for much of the final section and was no longer the focus–though perhaps the sound for the guitar could have been boosted more to support him more prominently on his guitar work, in place of the expected vocals.
Stephanie Zaharis is a beautiful Mary Magdalene. She balances the softness of the role with the passion and dedication that Mary feels toward Jesus and the cause. Vocally, she brings a bit of a sharper sound–a rawness that we don’t typically see with Mary–but it works well in this production.
Peter is played by Jack Hale, who does nice work with the featured track. “Could We Start Again, Please” is a heartbreaking song, and Hale and Zaharis’ rendition is particularly touching. Garrick Vaughan gives a strong performance as Simon Zealotes, and the shared moment between he and Sargent during and following “Poor Jerusalem” was very powerful.
Austin Lesch takes on the complicated role of Judas Iscariot, and I was especially impressed with Lesch’s acting ability. His was another performance loaded with intimate moments of connection, reflection, conflict, pain, and so much more. Lesch finds bits of humor as well, and he crafted a unique version of the character, unlike any that I have seen so far. He also has a strong rock voice, though I was disappointed that he didn’t get to tackle the final vocal section of “Superstar” when Judas typically riffs over the top of the angels and Soul Girls. Instead, Judas rocks out on the electric guitar. While this was a fun choice, it very much caused Judas to feel less relevant in the number. He was off to the side for much of the final section and was no longer the focus–though perhaps the sound for the guitar could have been boosted more to support him more prominently on his guitar work, in place of the expected vocals.
Stephanie Zaharis is a beautiful Mary Magdalene. She balances the softness of the role with the passion and dedication that Mary feels toward Jesus and the cause. Vocally, she brings a bit of a sharper sound–a rawness that we don’t typically see with Mary–but it works well in this production.
Peter is played by Jack Hale, who does nice work with the featured track. “Could We Start Again, Please” is a heartbreaking song, and Hale and Zaharis’ rendition is particularly touching. Garrick Vaughan gives a strong performance as Simon Zealotes, and the shared moment between he and Sargent during and following “Poor Jerusalem” was very powerful.
Jack Hale, Garrick Vaughan, and the company of Goodspeed’s Jesus Christ Superstar (Meredith Longo)
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Eleni Kontzamanys, Thabitha Moruthane, Nicolette Antonia Shin, and the company of Goodspeed’s Jesus Christ Superstar (Diane Sobolewski)
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Deven Kolluri gives my favorite performance of the night as Pontius Pilate. Kolluri is powerful and grounded, every inch the commanding presence necessary to embody the role of Pilate. He is both graceful and terrifying, proud and fierce, and his voice is incredibly smooth. Kolluri feels the most consistent over the course of the performance, and perhaps that’s due in part to the limited number of scenes Pilate is present in, but Kolluri is a real standout.
Leading the priests as Caiaphas is Jamari Darling, with Kevin Trinio Perdido at his right hand as Annas, and Elijah Dawson and Michael James as the other priests. The priests in this production are given an almost humorous edge to them, which wasn’t my favorite. While they still maintain the slipperiness that makes them unsettling, I was more inclined to chuckle at the over-the-top choices, than to feel a sense of fear for the characters they are threatening. I wanted there to be more gravity to the plans they set in motion. Darling has a wonderfully deep voice, and is very expressive, and Perdido is deceptively charming as Annas, but I wanted there to be more danger backing up their actions.
In Goodspeed’s production, “King Herod’s Song” is given both a new look and a new sound. This song in particular has been staged in vastly different ways over the years, and in this production, the style of the song itself takes on a new feel, while the role of Herod is played by a female-presenting actress, Nicolette Antonia Shin. Shin captures the energy of Herod exceptionally well. She’s wild and chaotic, sings the house down, and also maintains that slightly terrifying edge. However, the number lacked the humor that has become more common with “King Herod’s Song,” and the instrumental change made it feel like it was an entirely new number. It was certainly a unique rendition, though I am curious about why the musical change itself was implemented, as it didn’t feel necessary.
As always, Goodspeed has a fantastic ensemble carrying the dancing and group vocals throughout the show, including Jordan Alexander, Eleni Kontzamanys, Alex Lauren, Kathy Liu, Adam Mandala, Thabitha Moruthane, Mikaela Rada, and Matthew Saggiomo, with Dakota Hoar and Selena Robinson as swings. Kontzamanys, Moruthane, and Shin shine as the Soul Girls in “Superstar.”
Leading the priests as Caiaphas is Jamari Darling, with Kevin Trinio Perdido at his right hand as Annas, and Elijah Dawson and Michael James as the other priests. The priests in this production are given an almost humorous edge to them, which wasn’t my favorite. While they still maintain the slipperiness that makes them unsettling, I was more inclined to chuckle at the over-the-top choices, than to feel a sense of fear for the characters they are threatening. I wanted there to be more gravity to the plans they set in motion. Darling has a wonderfully deep voice, and is very expressive, and Perdido is deceptively charming as Annas, but I wanted there to be more danger backing up their actions.
In Goodspeed’s production, “King Herod’s Song” is given both a new look and a new sound. This song in particular has been staged in vastly different ways over the years, and in this production, the style of the song itself takes on a new feel, while the role of Herod is played by a female-presenting actress, Nicolette Antonia Shin. Shin captures the energy of Herod exceptionally well. She’s wild and chaotic, sings the house down, and also maintains that slightly terrifying edge. However, the number lacked the humor that has become more common with “King Herod’s Song,” and the instrumental change made it feel like it was an entirely new number. It was certainly a unique rendition, though I am curious about why the musical change itself was implemented, as it didn’t feel necessary.
As always, Goodspeed has a fantastic ensemble carrying the dancing and group vocals throughout the show, including Jordan Alexander, Eleni Kontzamanys, Alex Lauren, Kathy Liu, Adam Mandala, Thabitha Moruthane, Mikaela Rada, and Matthew Saggiomo, with Dakota Hoar and Selena Robinson as swings. Kontzamanys, Moruthane, and Shin shine as the Soul Girls in “Superstar.”
Nicolette Antonia Shin with Kathy Liu, Alex Lauren, Thabitha Moruthane, and Mikaela Rada in Goodspeed’s Jesus Christ Superstar (Meredith Longo)
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Justin Matthew Sargent in Goodspeed’s Jesus Christ Superstar (Meredith Longo)
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Scenic design by Riccardo Hernández is simple but effective. Sand covers the stage, the space is framed in arches, boxes are added for levels, and a backdrop is pulled across upstage to represent Rome. The sand is an interesting element, as it both gives the actors material to play and interact with, and it also adds an element of sound whenever scenic pieces are slid across the stage. The crucifixion utilizes a cross that is lifted into the air. Lighting design by Cha See is exceptional. From color washes to sharp spotlights, the lighting is really stunning in this production, accenting the scenes in clever ways.
As costume designer, Siena Zoë Allen creates a relatively modern look, but with a sort of bohemian style for Jesus, Judas, Mary, the apostles, and ensemble. It works well within the sandy world of the show that this production is set in, and contrasts nicely with the sharp black and gold looks of the priests, as well as Pilate’s red and Herod’s purple. Pilate’s costume is a favorite, with the flowing sleeves and shiny fabric. Wig, hair, and makeup design by Caitlin Molley is also well done.
Sound design by Jay Hilton is strong throughout. There is a solid mix between the band and performers, and the effects employed are done well. Music director Adam Souza and associate music director Nathaniel Zembruski have done great work on the musical and vocal elements of the production. The cast sound is excellent, as is the band.
As costume designer, Siena Zoë Allen creates a relatively modern look, but with a sort of bohemian style for Jesus, Judas, Mary, the apostles, and ensemble. It works well within the sandy world of the show that this production is set in, and contrasts nicely with the sharp black and gold looks of the priests, as well as Pilate’s red and Herod’s purple. Pilate’s costume is a favorite, with the flowing sleeves and shiny fabric. Wig, hair, and makeup design by Caitlin Molley is also well done.
Sound design by Jay Hilton is strong throughout. There is a solid mix between the band and performers, and the effects employed are done well. Music director Adam Souza and associate music director Nathaniel Zembruski have done great work on the musical and vocal elements of the production. The cast sound is excellent, as is the band.
Justin Matthew Sargent and the company of Goodspeed’s Jesus Christ Superstar (Meredith Longo)
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Justin Matthew Sargent, Stephanie Zaharis, and the company of Goodspeed’s Jesus Christ Superstar (Diane Sobolewski)
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All in all, it’s a strong production that looks at Superstar through an interesting lens. It may not have been my favorite rendition, but there are certainly wonderful qualities to be praised. The cast is giving it their all up there on stage, and I encourage you to catch a performance during the run at the Goodspeed.
Jesus Christ Superstar plays April 17 - June 7, 2026, at Goodspeed Musicals in East Haddam, CT. Learn more and purchase tickets at goodspeed.org or by calling the Box Office at (860) 873-8668.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Jesus Christ Superstar plays April 17 - June 7, 2026, at Goodspeed Musicals in East Haddam, CT. Learn more and purchase tickets at goodspeed.org or by calling the Box Office at (860) 873-8668.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.