To say that I love Jesus Christ Superstar would be a gross understatement. So naturally I jumped at the chance to see the Workhouse Art Center’s production of Tim Rice and Andrew Lloyd Webber’s rock opera, despite having seen the show twice in the previous month. The Workhouse did not disappoint, delivering a sensational classic rock score, kick-ass guitar riffs, and harmonies that built into a layered, pulsating chant with exceptional talent and palpable energy to a sold-out crowd.

Jesus Christ Superstar pulls together several stories from the Gospel, including Jesus’ healing of the leper, his clearing of the merchants from the temple, and Peter’s denial of knowing Jesus, just to name a few. But the musical offers a more nuanced perspective and brings a real and relatably human messiness to the events that occurred, from Jesus’ growing adoration among the common folk, ultimately to his crucifixion.

Liz Colandene directed the musical, focusing on the volatile nature of adoration and the emotional consequences of each flawed character’s actions. Instead of replicating common motifs, detailed attention was given to the small interactions between individuals, making each seem more real rather than like caricatures from another time.

The black box stage was awash with warm colors and flowing fabrics, reflecting a relaxed, carefree, hippie vibe. And lighting design by Christina Giles accentuated the tie-dyed shades of Audrey Miller’s costume design for followers of Jesus, adding to the ambiance.

Shakil Azizi is fantastic as the troubled Judas, kicking off the first act with an intensely powerful “Heaven on Their Minds.” Azizi exudes the passion and frustration of a conflicted man; Witnessing him navigate Judas’s journey as he struggles to do what he thinks is right, only to fail and drown in grief and guilt, is magnetic and pulls at the heart.

Jesus was played by Adian Chapman (in for Garrett Walsh), with a gentle but anguished aura. Chapman presents a strong but measured Jesus, which contrasts with Azizi’s severity in Judas and the growing fanaticism of the Apostles and the crowd. This dynamic is played out in the jiving “What’s the Buzz?” as the people itch with curiosity about what the plan of action is, while Jesus and Judas spar with words over wasted resources and Judas’ inability to focus on the here and now.

Mary Magdalene, who sings the well-known “I Don’t Know How to Love Him,” was performed by Erin Lee Shields with a lovely voice and kind demeanor. Shields presents Mary with the physicality of a caregiver and a gentle soul, constantly comforting Jesus and reaching out to others with open arms. The dynamic between Shields’ Mary and Chapman’s Jesus is touching and genuine, reminding the audience that Jesus was not simply a martyr or just a movement; he was a man with as much need for the compassion he freely shared with those around him.

Enter Caiaphas (Chris Anderson), Annas (Ethan Keller), and the Priests, dressed in their appropriately black garments. They fear the growing crowds and potential threat to their rule, and quickly switch up the mood with the dark “Jesus Must Die.” Anderson and Keller crush all of their vocals, with Anderson’s ground-rumbling bass and Keller’s dominant tone, casting a convincing image of the inevitability of their actions for the “greater good.”

Another great contrast to the upbeat, often near manic exultations from the crowd is Pontius Pilate’s song, “Pilate’s Dream”. Played by John Elmendorf, he beautifully sings the softer and melodic piece with wonder and trepidation, casting Pilate as a sympathetic character haunted by the dream of a strange man’s suffering brought on by the fickleness of humanity and the fragile egos of those currently in control.

The rock opera contains no dialogue, and the pacing of the numbers fluctuates with the scenes’ mood. There is frantic urgency in “Simon Zealotes” as Simon (Alicia Zheng) raves about Jesus’ fame and sway over the masses. Zheng and the ensemble take us to church on this number with their passionate, exalted voices and electrifying choreography by Jackie Madejski.

However, the chorus of “Everything’s Alright” has a more calm and flowing cadence, repeating like a meditation mantra to settle the nerves. Many of the songs flow smoothly into the next, but some transitions are deliberately disjointed and harsh to reflect the clashing and increasing conflict between the Roman priests and Jesus’ seeming threat to their authority.

And then you have the more humorous and playful “King Herod’s Song,” which is the most show-tune-y of all the songs. Sentell Harper is flawless as the flashy and somewhat sadistic King Herod, who taunts and teases Jesus about his supposed influence and abilities.

Meanwhile, managing all of this controlled chaos of tempo and timing is Music Director Merissa Ann Driscoll, who has done an impeccable job weaving the many threads of variable sound into one fluid and harmonious piece of art. Driscoll also leads the live band on stage on the keys, along with Nick Graziano on bass, Jim Hofmann on drums, and Robbie Taylor on guitar. Each musician gives high-octane, stadium-concert-level execution that electrifies the audience throughout the entire show.

The Workhouse Arts Center’s Jesus Christ Superstar is a fantastic experience and a true testament to creativity, talent, and professionalism, culminating in an energetic and cohesive production. The entire cast is a pleasure to watch, and the creative team has put together an impressive spectacle. I appreciated Director Colandene’s tendency to lean into the drunkenness, mania, and volatility of fandom, highlighting how the powers that be can manipulate that popularity. Congratulations to the Workhouse for bringing this show to life and displaying the work’s relevance as both a reminder and a warning still needed today.

Running Time: Two hours, including one 15-minute intermission.

Jesus Christ Superstar plays through June 15, 2025, presented by Workhouse Arts Center performing at the W-3 Theater located at 9518 Workhouse Way, Lorton, VA.  Purchase tickets ($40 for general admission, $35 for military, $30 for students) at the box office, online, or by calling 703-584-2900.

COVID Safety: Masks are optional at Workhouse Arts Center for visitors and staff. If you prefer to wear a mask, you are welcome to do so.

CAST: Garrett Walsh: Jesus; Shakil Azizi: Judas; Erin Lee Shields: Mary Magdalene; Chris Anderson: Caiaphas; Ethan Keller: Annas; John Elmendorf: Pontius Pilate; Alicia Zheng: Simon Zealotes (U/S Mary); Kevin Donlan: Peter; Sentell Harper: King Herod; Lila Cooper: Featured Dancer; Lydia Gifford-Featured Dancer; Julianna Cooper: Ensemble (U/S Annas, Peter); Tayandra Allen: Ensemble; Meredith Kilmartin: Ensemble (U/S Simon Zealotes); Evan Zimmerman: Ensemble (U/S King Herod); Sean Pflueger: Ensemble (U/S Caiaphas, Pilate); Cassie Cope: Swing/Dance Captain; Adian Chapman: Swing (U/S Jesus, Judas);Lottye Lockhart: Swing

CREATIVE TEAM: Liz Colandene: Director; Merissa Anne Driscoll: Music Director; Jackie Madejski: Choreographer; Samba Pathak: Stage Manager; Joseph Wallen: Producer; Emily “EJ” Jonas: Intimacy/Fight Director; Christina Giles: Lighting Design; Audrey Miller: Costume Design; Cheryl Neway: Associate Costume Design; Andie Matten: Sound Design; Priscilla Stapula: Props Design; Natalie Turkevich: Hair/Make-Up Design; Brian Bachrach: Head Electrician; Clare Pfeifer: Sound Board Operator; Abigail Horton: Art Consultant; Nancy Hessler-Spruill: Videographer; Alyssa Mutterperl: Photographer; Kayla Garcia: Photographer

THE BAND: Nick Graziano: Bass; Jim Hofmann: Drums; Merissa Ann Driscoll: Music Director/Keys; Robbie Taylor: Guitar