An energetic and inspiring "Jesus Christ Superstar" rocks out at the Goodspeed

The Bible tells us that upon a rock Jesus told his disciple Peter he would build his church. Almost 2000 years later, as Goodspeed Musicals presents Andrew Lloyd Webber and Tim Rice's "Jesus Christ Superstar," that foundation figuratively shakes, rattles, and rolls, led by keyboardist Adam Souza's conducting of the kinetic rock opera fused to the gripping choreography by Amy Campbell.

The stage production, based on a 1970 concept album by Webber and Rice, initially stirred controversy over its humanization of Jesus and sympathetic portrayal of Judas Iscariot. Upon release of the record , evangelist Billy Graham proclaimed it "bordered on blasphemy and sacrilege." Three years later Pope Paul VI declared the film version would "bring more people around the world to Christianity than anything ever has before."

Director Tatiana Pandiari validates both skeptic and believer in the Goodspeed reenactment of the gospel. Judas (Austin Lesch) comes across more vulnerable than villainous. While devoted to Christ, his vocal intensity in the opening number "Heaven on My Mind"fiercely questions the peril his master-perceived-as -lord could lead to - personally and politically. His tense and ragged staccato outbursts increase scene by scene as he grapples with betrayal, guilt, rationalization, more guilt, demise, and more.

As much as the audience is drawn to sympathize with Judas, his disdain for Mary Magdalene is palpable as he sees her as an annoying distraction to his master. Mary (Stephanie Zaharis), whose voice exceeds expectations, considering her petite stature, withstands Judas' scorn with grace, assuring Jesus "Everything's Alright" in a comforting repetitive, almost haunting mantra, a balm that soothes the proclaimed Lord.

Jesus (Justin Matthew Sargent) first appears almost irridescent, dressed in bohemian white - tunic and trousers - against a soft, rosy-lit stage. He walks amongst his followers on a floor of white sand - the opposite of the solid rock foundation he professed to build his church upon.

Justin's portrayal of the titular character moves seamlessly to and fro through the minimalist setting, as he manifests both the purported divinity of his person and the fragile humanity he shares with his followers.There is no ego in this Christ figure. Instead, a nuanced struggle between his determination to fulfill his destiny and a raw fear of what that requires of him come across as very real in the song rendition of Jesus' agony in the Garden of "Gethsemane."

Earlier the Roman leaders hell-bent on putting Jesus to death appear dubious and almost cartoonish from the start dressed in thick black robes with glitzy gold epaulets, a sharp contrast to the simple everyday ware of the citizens outside their domain. Pilate (Deven Kolluri), however, remains the exception, more seriously attired, as he is caught between Jesus' rock and the hard place of his authority. Scenic designer Riccardo Hernandez has the tribunal stand on tables above their constituents, a nifty touch to manifest the high and the mighty.

As in all productions of Jesus Christ Superstar, one of the mightiest - Herod - typically comes across as one of the zaniest - in "King Herod's Song." This one-on-one vaudevillian taunting of Jesus is meant to be played over-the-top, as Nicolette Antonia Shin does colorfully and comically, sitting on a swing that could have swung more to heighten the theatrics.

Unsurprisingly, all leads to a grueling crucifixion in which one can feel the pain. Yet, the brightest of light follows the darkness in a rousing interpretation of " Superstar" that amplifies the modern music and dance that has enhanced the simple staging of this classic since the opening scene. Even if Webber and Rices' version of the scriptures doesn't acknowledge Jesus rising from the dead on Easter Sunday, Director Pandiani 's vision of the libretto certainly affirms an energetic life after death. And what a delight to see the band behind the performance, having played from an unseen area, resurrect to the stage in a curtain call that did not miss a beat.

“Jesus Christ Superstar” runs through June 7 at the Goodspeed Opera House, 6 Main St., East Haddam. Performances are Wednesdays at 2 and 7:30 p.m., Thursdays and Fridays at 7:30 p.m., Saturdays at 2 and 7:30 p.m. and Sundays at 2 and 6:30 p.m., with added Thursday matinees at 2 p.m. on May 21 and 28 and June 4 and no 6:30 p.m. Sunday performances on May 24 and 31 or June 7. $47-$129. goodspeed.org.

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