‘Jesus Christ Superstar’ is timely for several reasons

Riverwalk Theatre’s production of “Jesus Christ Superstar” is appropriate for this time of year. The rock-opera rendition of Jesus’ last days goes all the way to his crucifixion and burial, a story retold in many Christian churches on Palm Sunday and Good Friday.

Some critics fault the musical for not continuing to the resurrection on Easter Sunday. But this tale is told from the perspective of Judas Iscariot, who is believed to have died shortly after the crucifixion. Judas was not around three days later.

Recalling the turmoil in the year 0033 and again when the album was released in 1970, it is also appropriate to relate the show to today’s circumstances. In the opening scene, followers of Jesus carry signs and a banner protesting brutality and terrorism on the part of ICE agents. Is it like living through a crucifixion every day?

Director Josh Martin notes, “When the people of a nation become victims of a brutal, oppressive and corrupt government and religion, there are two paths one can choose to take that are both justifiable and necessary.” One path is through self-interest and violence, the other through servitude, healing and kindness.

A somewhat subdued audience filled two-thirds of the Riverwalk seats on opening night last Thursday (Feb. 26). Applause was polite at the end of each song or segment, with an occasional outburst, perhaps from friends and family of a particular performer.

Judas, played by Meghan Malusek in fishnet stockings and a denim jacket, opened Act 1 with a stirring rendition of “Heaven on Their Minds.”

The cast’s enthusiasm showed again and again in song and choreography. Quentin Villa, as Jesus, displayed a truly impressive vocal range. Kelly Stuible-Clark, as Mary Magdalene, brought warmth and comfort to Jesus through words and movement.

I’ve been singing or humming most of the music for decades, but I always look forward to “Herod’s Song,” which has been done so many times in so many ways.

King Herod, played by Elle Bergan, did not disappoint! Her vampish rendition elicited the strongest applause of the night. I heard someone say watching that, by itself, was worth the price of admission.

It was a mocking, necessary stress reliever, akin to King George’s finger-waggling “You’ll Be Back” in the musical “Hamilton.”

The band (Metatron, directed by Kait Wilson) was virtually flawless, impressive and omnipresent while never overwhelming the vocals.

The entire cast maintained a level of activity and inclusion at all times, never out of character. This was a high-level performance by nonprofessional players who never missed a step. Thank goodness, because the choreography included ups and downs on a staircase while singing and gesturing!

The performance made use of live social media effects projected onto monitors on either side of the stage. Some were scenes from ICE raids and protests. Others were live views from cell phones held by the performers. A whole new aspect for modern presentations of this show.