Stage Review - Jesus Christ Superstar (5th Avenue Theatre)

Stage Review - Jesus Christ Superstar
Presented By: 5th Avenue Theatre - Seattle, WA
Show Run: May 02 - May 17, 2026
Date Reviewed: Friday, May 08, 2026 (Opening Night)
Run Time: 2 Hours (including a 20-minute intermission)
Reviewed by: Breanne Jensen

I would like to create a vision in your mind of what it was like to experience “Jesus Christ Superstar” on Friday May 8th, 2026, at The Fifth Avenue Theatre, on its opening night. This piece of art wasn’t just a theatrical performance, as I mentioned above, this was an artistically altering experience. There are very few times in my life, both as a theatre patron and participant (on/ off stage) that you walk into a beautiful theatre and just from seeing the preshow sets and lights feel an energy radiating from the creativity, leaving you breathless with an eagerness equally matched to excitement. As my gorgeous date for the evening and I (my mom) sat down to see one of her favorite shows, we could feel a palpable buzz in the air of elation and passion from all the supporters in audience both friends and strangers alike. From beginning to end, I was left in absolute shock, disbelief, adoration and gratitude for what the creative team of this production executed.

For those that like me, were not familiar with the show prior to the evening (I know, I know), the musical “Jesus Christ Superstar” (JCSS) is a 1970’s retelling of the events leading up to Jesus of Nazareth’s death/resurrection per the Christian biblical depiction. Typically, I would explain more of the plot for a show I am reviewing, but there is so much praise I must express that I hope my love and acknowledgement for every single aspect and department will speak for itself in lieu of needing to hear in depth plot points. The team led by Bill Berry (Executive & Artistic Director) spared no expense in creativity and meaningful direction. The stage is set by cold toned lights and a giant banner hanging from the ceiling reading “Romaspectat” in Latin and begins with Jesus’ apostles/ followers spray painting on the large banner in bright yellow with the words “Jesus is coming.  Every detail, each character, musical number, costume change, note sung on that stage, every movement choreographed was absolute perfection. I have seen many shows, including on Broadway, and this may be the best show I have ever seen in my life to date!

“JCSS” is polished, clean, emotionally evoking, a mix of modern and classic undertones making it unique and interchangeable. The set, designed by the incomparable Parmida Ziaei, is made to look like the inside of a temple/cathedral all grey giving a cold and sterile appearance/feeling. Adding to the feeling of that religious background, the rear of the set is comprised of what translated to myself as shattered (or cracked) stain glass windows that encouraged Robert Aguilar’s lighting effects to match every song, dance and moment in between with solid colors peering in. As someone who grew up in the Christian faith, it felt like a symbol that in the most holy and perfect of places, even the glass around it that’s supposed to be protecting it and keeping out all evil, is cracked, breakable and vulnerable, however when light shows through cracks it’s a reminder of how even light can come through in the most broken of structures, or people. Imperfect.

The incredible orchestra/band (under the direction of Music Director RJ Tancioco) is located above inside of the set, instead of the usual pit location, as if they are part of the congregation using the mezzanine. Between having the followers of Jesus inside the temple, “beggars” of healing/ sellers of goods, King Herrod’s show or Pontious Pilot’s Lent colored garment and matching draping fabrics from the proscenium, the space changes with effortlessness leaving you wanting for nothing, as everything is methodically planned out and the tempo never once drags, keeping your attention at every turn. The lights are beyond impressive, with their moving heads at rapid succession to match every moment of the rock musical, accentuating never detracting! The lighting teams work is so intentional and elevates each scene whether comical, angry, sorrowful or tragic. The sound design is exquisite in choosing the poignant moments vocally to highlight and create big booming effects and later switch to soft tender moments shared between one and their inner thoughts or troubles. The costume department made some of the most beautiful Roman robes with foiled letters in Latin, displaying phrases such as “law and order” (it is always the details that end up pushing a show right over the edge of brilliance). The individual cast members, whether in a 1970’s throwback, military uniform, loin cloth or even some circus Esque /show girl costumes, are fit to be tied and merry together like the most perfect puzzle piece. A very special recognition for Judas and the backup singer’s costumes (just one part of the excellent work Danielle Nieves has done here) for the finale as well as the scene in which all those wishing to be healed, leech on to Jesus, in hopes that he is the magic cure and their face wraps made for such a visually disturbing and impactful moment of how Jesus may have seen us on his bad days leading up to his death.

As I mentioned above, the creative team led by Mr. Berry is extraordinary and this applies to his team of choreographers and vocal direction as well, which includes the aforementioned RJ Tancioco as well as choreographer Jimmy Shields. I had the pleasure of sitting in the audience, on the floor, next to an aisle where I was fortunate enough to hear each ensemble member singing individually as they passed me. Every cast member (featured or not) whom I heard or had a future solo within the show, could have also been any of the leads. The talent explosion in this cast is undeniable and for those who know what a skilled vocalist sounds like, it was like a harmonic dessert to my ears. Jimmy’s choreography is clear, concise, communicative, elevating, inspiring, methodical and left some “Easter eggs” (or at least that is my interpretation) for those who did grow up in the Christian faith. For example, I noticed in one of the first numbers in act one, the apostle’s choreography looked familiar to me. Later, when they have Jesus in captivity and are asking him to again, do services for their leisure, he repeated these movements. I later came to realize; it is the hand motions I did in Sunday school for “He has the whole world in his hands”. These motions, to someone who isn’t familiar with them could be digested as “spells” or “cult like” behaviors, however, when it clicked for me, I had chills. Jesus is being asked to die for everyone else and just has to have the faith that God has the whole world in his hands.

Now, for the cast. As a director/ choreographer myself, I have learned how to spot on stage, when a cast truly loves one another off stage. There is a feeling of trust, comradery and vulnerability. We cannot create art without vulnerability, and we cannot be vulnerable if we don’t feel safe and this cast and crew feel entirely safe with one another and that is why their show is a masterpiece. In fact, the woman sitting in front me, who is a Seattle theatre vet herself, told me at intermission that my instinct on that was correct and her exact quote is, “this cast loves each other’s guts, I can tell you that from what they’ve all told me!” that feeling always makes a show like this become that much more special. Annas, played by Cassi Q Kohl, brings stellar and unforgettable vocals with unexpected range and a dash of humor. Kohl has a giant and successful feat of never falling into the shadow of her co-star Mark Siano, who plays Caiaphas. Siano’s bass voice is a work of art itself serving us in a way that few have or ever truly perfect and his depth is boundless. Siano and Kohl’s characters are often flown in by the fly system on a catwalk, above the temple (I’m sure you can smell the imagery from here on that one) always alluding to their superiority, however their talents never clash or outshine one another. Mary Magdalene, played effortlessly by Molly Sides, has the vocals of Janis Joplin meets Brandi Carlile, intertwining folk and rasp giving tenderness to every phrase. Sides portrays Mary with a gentility, and her loyalty to Jesus due to his kindness and lack of judgement on her, is reciprocated and encapsulated in her performance. Whenever the story feels like it may get even worse, Mary enters and her voice is like a soft hug in a quick pause, which is known to us as an outlet.  

Peter, played by Will Chadek, stands out with his dreamy vocals and creates some outstanding and mesmerizing harmonies with Mary. Pontious Pilot, mastered by Mari Nelson, is a performance I’m not sure I’m even qualified to speak on, frankly. Nelson’s resume speaks for itself, so you can hardly imagine the excellence and once in a lifetime power that this artist possesses. Her voice, command and willingness to lose herself to Pontious is something I will never forget being witness to. Jesus’ friend turned foe, Judas is brought to life by Cameron Lavi-Jones. Lavi-Jones’ bio states that this is his FIRST, let me repeat this, FIRST theatrical debut and it is at The Fifth Avenue Theatre! Lavi-Jones’ talents are innovative and groundbreaking and has vocals unlike any other I have heard to date. His dedication to not only the character but the pain in his voice conveys his personal and artistic message of creating art for black artists such as himself in the area and is a gift to all. I hope to bear witness to more of his talents soon (look up his band King Youngblood).

Last but certainly not least, Jesus of Nazareth is brought to life and death inside of Alexander Kilian. Kilian, whom I had the pleasure of briefly seeing in the ensemble of “The Wild Party” this past January, is unlike any other performer in our area. Kilian’s self-awareness allows him to fully encompass the meaning of leading others into some sort of religious freedom whatever/ however that may be. From the physical appearance of what the media has told us Jesus looked like, his heart for others or his guidance seeking from Mary, Alexander left and Jesus took the stage. At the beginning of the second act, a recreation of the portrait, The Last Supper, is a reflection that this is our final lighthearted moment, we as an audience and Jesus as a character are about to enjoy. After the last supper, Jesus has a moment of solitude and performs “Gethesmane” (I Only Want to Say) in which Kilian himself had a spiritual experience. His vocals and emotions were so transformative that myself, my mom and the gentleman across the aisle from us were all in tears. When Kilian finished his song, the audience erupted in awe and disbelief at what we had just been witness to and a two-minute-long standing ovation took place, which isn’t the “norm” after a song. The sweet woman next to me said, “Can we stand up after every song?! This is the most amazing day of my life!” and I felt everything she did because I too have never felt anything like this. Kilian should be on Broadway; he should be on every Seattle stage and his heart shines through every note his voice sings.

When Jesus eventually meets his fate and is hung on the cross for our sins, Alexander Kilian is hoisted into the air, in a loin cloth, with blood on his face, a crown of thorns upon his head, forty lashes on his back, his feet laid on top of one another as he almost whispers in the silence of the entire room, “where is my mother? I want my mother. I’m so thirsty. It is done.” And passes away. Not a person moved in their seat, the audience was silent and the lights rose for curtains and bows. Tears involuntarily and almost unknowingly streamed down my face, my heart racing and I wanted to run up and save Alexander or Jesus, I wasn’t quite sure who it was that I felt needed me! But what I felt was humanity. The creative team, the cast and Kilian all created a reminder that even the almighty was imperfect, bled, had scars, had friends who were prostitutes. He was flesh and bone, just like you and I, just like those shattered windows that are protecting the church in which our story takes place.

As Alexander Kilian hung from the ceiling looking like a mirror image of every picture I’ve ever been shown of the crucifixion of Jesus, I noticed something behind him. The same place I had seen those windows, now had the lights arranged in the pattern of a cross, but I noticed that this cross’-middle line was slightly off center. I’m not sure if that was on purpose, but to me, I saw a symbol of perfection, crooked and imperfect to remind us that no other being is superior to another. We all bleed, we all die, we all live and if we’re lucky we all make a difference and leave our mark somehow. As one the most recent and best lyricists of our time Lin Manuel Miranda said, “This is not a moment it’s a movement” and “Jesus Christ Superstar” at the Fifth Avenue Theatre is just that.

With Jesus Christ Superstar, The Fifth has created a perfect show about someone perceived to be perfect while reminding us of his and our own humanity. Humanity that’s shown not only in subject matter, but the carefully crafted details, the diversity on stage to be seen and celebrated, for a timeless story to be reimagined and remind us that even our biggest enemies give us our biggest blessings. Whether that is in our art, career, religion, relationships or morals.  Politics absolutely belongs to/in the arts, and I can’t thank the Fifth Avenue Theatre enough for concocting one of the most meaningful and beautiful pieces of art I have ever borne witness to. May I and my peers continue to create art even remotely close to this professional level but most importantly art with a message to ensure, like Jesus of Nazareth, other minorities and religions don’t get washed away and erased. Don’t walk, don’t run, teleport to see “Jesus Christ Superstar” at The Fifth Avenue Theatre before it closes, I hope you feel as inspired by at is as I did!

Jesus Christ, Superstar, you are indeed what they say you are! Brava to all.

The 5th Avenue Theatre production of Jesus Christ Superstar runs on stage through May 17. For more information, including ticket availability and sales, visit https://www.5thavenue.org/.

Photo credit: Michael B. Maine