God clearly has favorites, and they all auditioned for Jesus Christ Superstar.
Dear Reader,
Is there anything more exciting than watching a production that reminds you of exactly why you fell in love with theatre in the first place?
Musical Theatre Against the Grains recent production of Jesus Christ Superstar, directed by Paige Murray (Theatre and Performance ‘29), was one of those rare experiences that made me sit back, look around, and think, God, I’m proud to go here.
With spectacular choreography, powerhouse performances, and a phenomenal live band, JCS was easily one of the strongest productions I've seen at Emerson. It wasn't necessarily groundbreaking in its interpretation of the material, but I really don't think it needed to be. The script and score already make for an incredibly impressive musical, and when done well, as this production very much was, the material speaks for itself.
One of the production's greatest strengths was by far its choreography, courtesy of Emma Mason (Theatre and Performance ‘27) and Eva Parhami (Theatre Education and Performance ‘28), who might as well start preparing their EVVY acceptance speeches now.
From the opening moments of "Heaven on Their Minds" Mason and Parhami delivered choreography that was consistently creative, clean, and so exciting to watch.
The ensemble’s energy was incredible, the execution was sharp, and the cast made even the most difficult dance breaks look effortless. With so much choreography packed into one production, it would have been easy for the ensemble to lose some energy as the show went on, but instead, they really only seemed to get stronger.
There is no doubt that this choreography team will be taking home one of the many EVVYS this show is sure to win.
And the ensemble deserves plenty of credit as well for bringing that choreography to life. Their synchronization was impressive, but what stood out even more was how connected they seemed to be with one another. It was clear that this was a cast that had grown close throughout rehearsals, and that connection translated beautifully onstage. Rather than looking like a group of individuals trying to remember the same steps, they moved together as one very naturally.
However, the choreography was also where one of my bigger issues with the production came in. For most of the show, the costumes and overall design leaned into a more traditional biblical setting. Yet the choreography occasionally introduced distinctly modern moves, including voguing and death drops.
Now, I love a good death drop as much as the next person, but I wasn't entirely sure what one was doing in ancient Jerusalem.
These moments were undeniably entertaining, and I certainly wouldn't argue that modern movement doesn't belong in Jesus Christ Superstar, as the musical itself is hardly a historically accurate retelling of the Bible, but seeing these modern moves definetly surprised me. And while it wasn't nearly enough to take away from how impressive the choreography was, the production never really established a clear concept that explained why these vastly different styles co-existed.
As for other design elements, the lighting, designed by Christopher Oetama (Theatre ‘29) was one area where some great ideas didn't end up working in practice.
There were actually some amazing lighting moments, including flashes during each of the 39 lashes, and a reappearing projection of a cross behind the cast. Unfortunately, I felt that the cross reappeared so frequently that it eventually lost some of its impact. Rather than being saved for a few specific moments, it started to feel like something that was just sorta happening in the background every few minutes. Had it been used more selectively, I think it could have been much more powerful.
And then there were the lights pointed directly into the audience.
Now reader, I'm all for dramatic lighting, but I generally prefer to experience theatre with my eyes open.
At several points, the lights were so bright that audience members were physically covering their eyes or looking down to avoid them. And while I understand the desire to create those sudden and surprising moments, I feel that there's a difference between making the audience feel overwhelmed by the story and making them feel overwhelmed by the possibility of permanent retinal damage.
The issue wasn't just that the lighting was uncomfortable, as theatre should sometimes make the audience a little uncomfortable, but people were missing things happening onstage because they couldn't look up without being blinded. For a production with such impressive choreography and performances, it was frustrating to have moments where the lighting actively prevented the audience from seeing them.
Thankfully, the sound department seemed determined to make sure that even when we couldn't see, we could at least hear.
The sound, designed by Henry Houghton (Theatre Design and Production ‘28) was one of the strongest technical elements of the production. The use of echo created a haunting atmosphere that filled the entire space, particularly during moments when the ensemble sang together.
The best example came during "Well Done Judas," when the cast sang from off stage, and with crisp, clear, and beautifully balanced harmonies, paired with the echoing sound design choices, created one of the most memorable moments of the show. There weren't many moments of prominent ensemble harmony, which made this one stand out even more.
Additionally, the 4 mic’s the Judee provides were used effectively, and the cast actually completed a few mic changes throughout the show, so everyone could be heard consistently throughout.
If you're shocked by that, you're not alone. A musical where the audience can hear the performers? What a concept…
Of course, even the best technical elements can only do so much if the performances themselves don't deliver.
Fortunately, when you stack a cast full of musical theatre majors, you're practically guaranteeing yourself an evening of extraordinary vocals, and an alarming number of people who can belt higher than most of us could ever dream of.
And this cast certainly delivered.
Austin Bradford (Musical Theatre ‘30), who made his Emerson debut as Judas, came out swinging from his very first note. His vocals were immediately impressive, with powerful belts and an incredibly strong stage presence. From the beginning, he established Judas as a character driven by panic and desperation, and that intensity carried throughout his performance.
However, that same intensity occasionally worked against him.
During "Damned for All Time/Blood Money," the combination of the song's fast tempo and Austin's frantic delivery made portions of the lyrics difficult to understand. I completely understand what he was going for, and the panic certainly made sense for the character, but the lack of clear enunciation sometimes made it difficult to follow what in the world he was actually saying.
A similar issue came up during Judas's death. There was so much running around and frantic movement that the scene seemed to go from complete chaos to Judas being dead before the audience really had time to process what was going on.
I would have liked to see Austin slow down in a few of these moments and let the emotions speak for themselves. His commitment to the character was never in question, but giving the audience a little more time to sit with those emotions could have made the performance even stronger.
Nevertheless, for a first Emerson role, Austin made one hell of an entrance as one of the strongest performers of the evening, and I have a feeling this won't be the last time we're talking about him.
And then there was Ariana Arocho (Musical Theatre ‘29).
Now, I've seen Ariana perform before, so I was hardly expecting anything less than extraordinary. But even with those expectations, her performance as Jesus was something truly special.
Ariana’s distinctive R&B voice brought so much personality to the score, and from her first note, she had the audience eating out of the palm of her hand, delivering the kind of performance that makes you wonder why Broadway hasn't already snatched her up.
There's something so exciting about watching a performer who knows exactly what they're capable of, and Ariana is absolutely one of those performers. Her vocals were incredible, but what impressed me just as much was how naturally she commanded attention. She didn't need to bother fighting for the audience's focus, because the second she started singing, everyone was all ears.
Of course, putting two vocal powerhouses like Ariana and Austin onstage together can be tricky. When both performers are capable of completely taking over a scene, there's always the possibility that one will overshadow the other.
But in what can only be described as the ultimate diva-off between Jesus and Judas, Ariana and Austin managed to balance each other perfectly.
They matched each other's energy, and their chemistry was some of the strongest in the show, making their relationship feel incredibly engaging, even when the characters were at odds.
In fact, the chemistry between Jesus and Judas was so strong that it occasionally made Jesus's interactions with Mary Magdalene, played by Maya Dhakal (Musical Theatre ‘28), feel a little awkward in comparison. While those scenes were great, they never quite developed the same natural connection that existed between Ariana and Austin.
Apparently, even the Son of God has complicated relationship dynamics.
As for Ariana herself, there is very little criticism I can offer. Her performance was confident, vocally spectacular, and consistently entertaining.
The singing? Phenomenal. The presence? Undeniable. The talent? Frankly, a little ridiculous.
Get that girl on Broadway.
While the two leads understandably received much of the attention from audiences, one of the evening's biggest surprises came from Lily Mavros (Musical Theatre ‘29) as Pontius Pilate.
From the moment she entered, she brought a confidence to the character that made it impossible to look anywhere else. She didn't need to do much to establish Pilate's authority, as her presence alone was enough.
And then she started singing.
Lily's vocals were one of the most unexpected highlights of the evening, particularly her incredibly controlled mix. Her high notes were powerful, clear, and seemingly effortless. The combination of her vocals and stage presence turned what could have been a relatively straightforward supporting role into one of the most memorable performances of the show.
I could have happily listened to her stand onstage and sing for the rest of the evening.
Frankly, I wouldn't have complained if Pilate had been forced to count higher than 39, just so I would get to watch Lily on stage a little longer.
Now, I also might have wanted her on stage longer to save us from watching another awkward exit, as actors often left through the back of the Judee, requiring them to run quite a bit after leaving the stage. These transitions were occasionally accompanied by complete silence, leaving the audience to watch the actors sprint awkwardly away from the scene they had just finished.
Nothing quite disrupts a dramatic moment like watching someone run what appears to be the final leg of a marathon through the Judee.
The issue wasn't necessarily the use of the space itself, as I thought Paige did a great job working with what she was given, and using the aisles and back of the space effectively. But, these exits specifically felt more like a logistical necessity than an intentional choice. Rather than adding to the story in any way, they drew attention to the fact that the cast needed to get somewhere else, which, in a production that otherwise maintained such strong energy, occasionally pulled me out of the show.
But despite these criticisms, Jesus Christ Superstar was an extraordinary experience, and it definitely earned the right to be called one of the best student theatre productions to date.
The choreography was spectacular. The band was phenomenal. The ensemble was cohesive and energetic. And the lead performers delivered the kind of performances that everyones jaws on the floor.
More than anything, the production reminded me how lucky we are to be surrounded by this level of talent every day. It's easy to get used to seeing impressive performances when you're constantly surrounded by artists, but every so often, a production comes along that makes you realize just how remarkable your peers really are.
And, perhaps the most impressive thing about this production wasn't the story of one superstar, but the sheer number of future superstars sharing the stage.
And if this is the kind of talent Emerson is producing, consider me a believer.
-Miss. Broadway Bound
*Applause Pending is an independent student publication. It is not affiliated with, sponsored by, or endorsed by Emerson College. All reviews and articles are the sole opinion of the author.*
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