jesus christ superstar tour 2022 run time

AN ALBUM THAT INSPIRED A REVOLUTION. A REVELATION THAT CHANGED THE WORLD. A REINVENTION FOR THIS MILLENNIUM.

Jesus Christ Superstar is an iconic musical phenomenon with a world-wide fan base. In celebration of its 50 th  Anniversary, a new mesmerizing production comes to North America.

Originally staged by London’s Regent’s Park Open Air Theatre and helmed by the acclaimed director  Timothy Sheader ( Crazy for You , Into the Woods ) and award-winning choreographer  Drew McOnie ( King Kong , Strictly Ballroom ), this production won the 2017 Olivier Award for Best Musical Revival garnering unprecedented reviews and accolades.

Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring. Featuring award-winning music by  Andrew Lloyd Webber  and lyrics by  Tim Rice ,  Jesus Christ Superstar  is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.

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Arts and Entertainment Reviews

Theater Review: JESUS CHRIST SUPERSTAR 50TH ANNIVERSARY TOUR (New Cast for 2022-2023 Tour)

Post image for Theater Review: JESUS CHRIST SUPERSTAR 50TH ANNIVERSARY TOUR (New Cast for 2022-2023 Tour)

by Maddalena Beltrami on December 31, 2022

in Theater-Los Angeles , Tours

I still have the soundtrack album that I bought when I was 14. I saw the movie when I was 16. I saw the Broadway Revival in my late teens. Today, just over fifty years after Jesus Christ Superstar premiered on Broadway, I had the pure pleasure of seeing it again at the Pantages Theater in Los Angeles. It’s a mash-up of rock concert stadium staging, lead actors holding microphones, music video, and Broadway-style production values and voices. With Shawn Gough ’s astoundingly tight music direction, Drew McOnie ’s hot-blooded aerobic choreography, Lee Curran ’s magical dramatic lighting, Tom Scutt ’s modern set and costumes, and a beautiful blend of vocals by an immense ensemble, this Regent’s Park Open Air Theatre 2016 production — updated for a 21st-century audience — is the closest thing you’ll get to heaven. It’s a fantastic production that mostly gets it right given the uneven casting.

jesus christ superstar tour 2022 run time

There are 80+ recordings of  JC Superstar from over a dozen countries, not one of which in totality tops the original 1970 Concept Album. This North American tour, which runs well into 2023, returns to that raw street-wise power, and elucidates the timelessness of Andrew Lloyd Webber’s score, still his best. Never intended to be an accurate portrait of Christ’s passion, the story is lyricist Tim Rice’s idea of what Judas’s thoughts and motivations may have been, not a Biblical portrayal at all.

jesus christ superstar tour 2022 run time

Interestingly enough, as much as I loved it, the three leads are somewhat disappointing — if, that is, you are expecting a blend of rock star vocals and great acting. It may be the fault of Timothy Sheader’s direction, which gives Jesus, Mary, and Judas scant sense of backstory and relationship, of which there is precious little to begin with. The leads play second fiddle to the melee and get somewhat lost. Maybe Sheader — who wisely dropped the intermission — thought any of that would get in the way of his hurtling high-voltage trajectory. Thus, Jack Hopewell ’s Jesus — complete with man bun — simply isn’t asked to blow you away like Ted Neeley or Steve Balsamo did. His tenor is lovely and lyrical, and his expressiveness and unique vocal timbre are awesome, even as he is better suited for pop. Maybe his interpretation is supposed to be less threatening to the current mood than a tall Jesus with long locks that rocks his torment. And Faith Jones as Mary was all wrong for the part in stature and looks and definitely in voice. — a beautiful lush high range is needed for her songs.

jesus christ superstar tour 2022 run time

Still, Elvie Ellis plays the betrayer with a perfect blend of Broadway chops and show biz savvy, even as he lacks distinction. Beeks is particularly dramatic in “Damned for All Time” (when accepting his cash for ratting on Jesus to Caiaphas) and in “Judas’s Death” when his guilt and grief ultimately consume his life (with the help of a noose, here a dangling orange mic cord). When he comes back from the dead, there’s enough super-rockin’ dynamism — and seriously tight back-up Soul Girls L’Oréal Roaché , Savannah Fisher , Lydia Eku  — to make you get a ticket to come back (there are many cities for this tour, but runs are painfully short, most a week, so act fast).

jesus christ superstar tour 2022 run time

It’s the smaller roles that blew me away, and I could hear every lyric from Isaac Ryckeghem , who is not just slimy as Caiaphas, the High Priest of Israel, but he snatches those low bass notes and spears them through the back of your head. Kodiak Thompson turns the manipulative, bullying priest Annas into a Mordred-like villain, and Nicholas Hambruch is thrilling as Pontius Pilate, the governor of Judea.

jesus christ superstar tour 2022 run time

Mr. Scutt’s set design has a runway-like crucifix, especially effective when Caiaphas and his cronies crack down on Christ, and the orchestra is on levels behind the playing area. The main themes here — power struggles, control, greed — are remarkably clear, visceral and palpable. There is the 21st-century nail gun used instead of a hammer for the cross scene, and, as if to thrust us into the modern age’s divide between the haves and have-nots, Mr. Sheader has his players hurl sparkling gold dust at Jesus to represent each lash he receives. It’s a coup de théâtre, one of many in this most admirable revival.

photos by Evan Zimmerman for MurphyMade

Jesus Christ Superstar national tour Work Light Productions reviewed at  Hollywood Pantages  October, 2019 tour continues into 2020; for dates and cities,  visit JCS

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Saw it in Denver January 2024. I kept expecting the set to surprise me. But it was one of those raw sets where nothing moves, which I always find disappointing in a professional show. It looked good, but man I would have been thrilled if that big cross that they used as a stage rose up at the end. Nothing. I didn’t feel like there were too many standout performances and the choreography felt so robotic. I think all the singers holding microphones was weird and added to the music video vibe which I can see them going for, but it wasn’t working for us. Pilate, Caiaphas, and Judas were very good. I had never seen it live before, and didn’t really understand the point of that one dancer who stood out from everyone else and kind of thrusted her arms dramatically at everyone who was singing. What did she represent? I loved the silver-stained-hands idea for Judas. Mary didn’t have the passion I expected. I’m glad I saw it, but it didn’t wow me. Maybe they need to go back to its hippie/disco roots with the next revamp.

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Theater Review: The 50th anniversary tour of ‘Jesus Christ Superstar’ breathes new life into a modern classic

The 50th anniversary tour of “Jesus Christ Superstar” began its Orlando run on June 7, 2022, and Attractions Magazine was invited to find out what’s the buzz and to tell everyone what’s a-happening!

jesus christ superstar

“Jesus Christ Superstar” is a re-imagining of The Passion story, exploring the last days of Jesus and centering around his relationships with Mary Magdalene and Judas Iscariot. The show begins in the late stages of Jesus’s ministry and focuses on Judas’s growing distaste for the movement, his betrayal of Jesus, and Jesus’s subsequent crucifixion.

No prior knowledge of the story is necessary to enjoy the show, though having a basic understanding of the events will help audience members pick up on some of the looser and less defined connections between the source material and the musical.

As much as the story of Jesus Christ may be timeless, “Jesus Christ Superstar” is definitely a show from the early 1970s that is very much of its time. The influences of the late 1960s and early 1970s music are felt through every song, and truly the idea of a rock opera in and of itself can feel quite dated.

jesus christ superstar cast

This is certainly not to say that the music and lyrics are bad, of course, and the show’s staying power and continued place in musical theater over the last fifty years is a testament to that. Some of the show’s more enduring (and singable) songs include the beautiful (and beautifully performed) “I Don’t Know How to Love Him” and the titular “Superstar.”

The show is presented as a true rock opera with very little, if any, spoken dialogue, and one song transitioning straight into the next. This holds for the show’s entire 90-minute runtime (which is presented without an intermission, so plan accordingly).

This particular production leans heavily into the rock concert aspects of the musical, having the band appear on stage and having each performer sing into a handheld microphone (although they each also had a wireless microphone on their face, so I was never sure if the handheld mics were props or the face mics were just backups).

jesus christ superstar paul louis lessard

The heavier rock concert elements were hit or miss for me, and without spoiling the specific moments, worked beautifully at times – such as during the death of Judas – and felt a bit forced at others, such as during the death of Jesus.

The set had a very cool industrial feel and used lighting very effectively to highlight the crosses made from steel beams coming together.

Anachronisms abound in the show, and indeed, are often purposeful components that range from the very blatant (Jesus strumming his acoustic guitar in a jam session with his disciples in a way reminiscent of a modern youth pastor) to the more nuanced (Jesus and his disciples dancing around with crosses, a symbol which should only really become associated with Jesus after his death).

tommy mcdowell and jenna rubaii

If you have ever seen a previous production of “Jesus Christ Superstar,” this tour thankfully lacks many of the aesthetic choices which must have been cool in the 1970s but come across as a bit hokey now.

“Jesus Christ Superstar” has always been a show that lives and dies on the talent of the performers, particularly those playing the demanding high tenor parts of Jesus and Judas. In this production, the standout is Omar Lopez-Cepero as Judas, who commands attention whenever he appears on stage.

While it’s hard to root for the literal character of Judas, Lopez-Cepero really brings his humanity and his inner conflict to life on the stage, from his first lyrics to his final notes. The rest of the cast more than holds their own, keeping the energy high through the entire show.

jesus christ superstar crucifixion

In the end, while the show may be a bit dated, this touring production of “Jesus Christ Superstar” is well worth the price of admission to see an even more modern retelling of an already modern retelling. The superbly talented cast hits all the right notes and never lets the pace drag for the entirety of the show’s runtime.

Older generations will appreciate the throwback music and rock concert atmosphere while younger generations get an opportunity to see a modern classic retooled for the new millennium.

“Jesus Christ Superstar” is open now at The Dr. Phillips Center for the Performing Arts in Orlando, and runs through June 12.

For tickets, visit DrPhillipsCenter.org  and to find out more about upcoming tour dates, visit  USTour.JesusChristSuperstar.com .

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I just saw Jesus christ superstar in Toledo. It was intense and magnificent. Jesus version of I only want to say blew me away. I have seen the original movie several times and the play with Ted Neeley. All awesome. This play was a little different/creative in a fabulous way. If any of the performers have access to this pleaseshare with them how awesome it was. Would see again in a heartbeat!

A true disappointment. Could not understand 98% of lyrics which turned it into a yelling and screaming event that was extremely difficult to follow even though we already know the story!!

A true disappointment. We saw it in Naples and could not understand 98% of lyrics which turned it into a yelling and screaming event that was extremely difficult to follow even though we already know the story!!

Don’t go. They left out the Resurection at the end. Wow!

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jesus christ superstar tour 2022 run time

In the 50th year of our ‘Jesus Christ Superstar,’ praises be

The national tour now rocking the Kennedy Center feels both extremely current and deeply rooted in the 1970s musical zeitgeist.

It’s never a bad time to revisit good ole Jesus Christ Superstar . Now, 50 years after it first shattered expectations about what a musical could sound like, might be the best time of all.

jesus christ superstar tour 2022 run time

The 50th-anniversary national tour now rocking the Kennedy Center offers such a fresh, yet timeless, take on the seminal musical that it is tempting to label it unmissable. Much of the production’s success rests on Timothy Sheader’s shape-shifting direction and Drew McOnie’s frenetic, synchronized choreography. The production, which originated in Britain, won the Olivier Award for best musical revival in 2016. After a two-year delay due to COVID, DC audiences are finally getting their chance to see “what’s the buzz” all about.

Jesus Christ Superstar burst onto the scene as a concept album in 1970, released when composer Andrew Lloyd Webber and lyricist Tim Rice were still in college. By 1971, record executives had shut down over 20 unlicensed stage productions that had popped up across the U.S. and Canada before the show finally opened officially on Broadway later that year. People couldn’t get enough of the show’s electric sounds and controversial retelling of Judas’ betrayal of Jesus.

Fifty years later, Sheader’s production manages to simultaneously embrace the rock-concert vibe that Webber and Rice originally intended for the musical, and also feel incredibly theatrical. An ensemble of frenetic, synchronized dancers forms the visual centerpiece of the production. The three principal characters, Jesus, Judas, and Mary, sing into handheld microphones, giving the show a sense of intimacy, as if the audience were privy to a recounting of history set to music. And the band, the musical jewel of the show, is wisely placed directly on stage, on the upper level of metal scaffolding that crosses the entire rear of the stage. This allows audiences to bop along with the musicians as they storm headlong through a score that starts with an iconic guitar solo (by Mike Frederick) and quickly blooms into the Overture that has become one of the most beloved and recognizable works of music in the musical theater canon.

The result is a production that feels extremely current and also deeply rooted in the 1970s musical zeitgeist from which it emerged.

Among the lead performers, Jenna Rubaii stands out as the biblical Mary Magdalene, who comforts and supports Jesus. Mary’s three ballads provide soft spots in an otherwise hard-hitting musical, and Rubaii knocks them gently out of the park. The classic tunes “Everything’s Alright,” “I Don’t Know How to Love Him,” and “Could We Start Again Please?” all find safe harbor in her folk-tinged voice and magnetic stage presence.

jesus christ superstar tour 2022 run time

Faring less well are Aaron LaVigne as Jesus and Omar Lopez-Cepero as Judas. Both men clearly have the chops for the belt-heavy roles, but Lopez-Cepero misses several opportunities to crank up the angst his character should be feeling, and both sing with the detachment of someone performing a role rather than inhabiting it.

The supporting cast mostly comprises Jesus’ disciples and the various government officials who determine his ultimate fate. These officials march on and off stage on a large metal cross that lies at an angle across the stage. The fallen cross serves as a runway, a dance floor, and the table for the Last Supper, its constant presence an ominous reminder of its ultimate intended use.

As Annas and Caiaphas, the officials who bribe Judas into giving away Jesus’ whereabouts, Tyce Green and Alvin Crawford complement each other both vocally and thematically, forming a yin and yang of temptation. Green lures Judas toward betrayal with his cloying tenor (“Your help in this matter won’t go unrewarded…”) and Crawford seals the deal with his reverberating bass (“We’ll pay you in silver, cash on the nail…”). Flanked by soldiers, the pair stand on the cross, caressing and humping five-foot-tall mic stands that double as scepters. With their bare chests (and Green’s flowing hair), the pair brings to mind a ’70s glam rock band infused with sinister echoes of military might.

jesus christ superstar tour 2022 run time

Tommy Sherlock and Paul Louis Lessard also get star turns as government officials. Sherlock is contemplative as Pilate, ruminating over the responsibility of leadership in the song “Pilate’s Dream,” and rising to anger when Jesus refuses to answer his questions. Lessard provides comic relief in the showy “Herod’s Song,” in which he mocks Jesus’ purported powers (“Prove to me that you’re divine, change my water into wine!”) in a charismatic solo performance.

Herod’s flashy gold cape is one of the production’s few departures from a subdued color palette, a palette that starts with comfortable costumes that look borrowed from a post-apocalyptic Lululemon, where Biblical desert-dwellers spend their days dancing to electric guitars. Tom Scutt’s costumes and scenic design give the show a Biblical feel while never feeling performative. The only other pop of color in the production is the glitter that is flung at Jesus in time to the music as he is flogged 39 syncopated times. (Condolences to the stage crew that has to clean up each night.) Lee Curran’s expert lighting design heightens the onstage drama as beams of light criss-cross the stage like laser beams. Floodlights aimed from the back to the front of the stage illuminate the performers from behind, bringing to mind the lighting at a police interrogation.

When I was in college, my best friend and I saw Jesus Christ Superstar whenever we could. She was Catholic and religious, I was not. But for very different reasons, we both came away from Jesus Christ Superstar feeling like we had just had a religious experience. Now, as then, Jesus Christ Superstar is taking audiences to celestial heights.

Running Time: One hour 35 minutes with no intermission.

Jesus Christ Superstar plays through March 13, 2022, at the Kennedy Center Opera House – 2700 F Street NW, Washington, DC. For tickets ($45–$185), call the box office at (202) 467-4600 or go online .

The Jesus Christ Superstar program is online here .

COVID Safety: Masks and proof of vaccination are required. Kennedy Center’s complete COVID Safety Plan is here .

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I think we saw different shows – for the first time in my 20 year history of attending events at the Kennedy Center I walked out. It has the biggest waste of money to date. The adaptation was marginal at best. The overdone use of glitter was obnoxious. The use of microphones and cords in a historic piece was, at best, distracting. The set design was the only positive I had about the entire show. This director should not be allowed back and needs to have a much smaller glitter budget. JCS should be a powerful and entertaining piece yet it lacked any sparkle – from the choreography to the costumes…i want my time back…

You are definitely not the first person I have heard from who didn’t like it! When we walked out, I turned to my husband and said “wasn’t it wonderful?” He replied “ummmm…. I couldn’t understand anything they said.” Personally, the creative choices really worked for me. I loved the strong dance element to the show and I thought having microphones in the hands of the main characters was a clever nod to the fact that JCS was originally a rock concept album. I DID feel bad for whoever has to clean up all that glitter, but to me, it was a clever way to insert a bit of unexpected drama. I know that this show did not click for a lot of DC audience members even though it won the Olivier Award in London before it went on tour. It would be interesting to be able to see the London and tour versions side by side to see if they differ at all.

I also left before it was over. This show was a waste of time (and money) for me. Basically, it isn’t an opera, because in an opera the performers portray characters and actually do some acting. In this production, the singers just belt out songs as if they were in a rock concert, with no effort made to portray a character (even the singing lacked emotion – perhaps in part because it was over-amplified). I was never drawn into the story and felt no connection with anyone on stage. The dancers were annoying; the choreography didn’t seem to have much to do with anything, and presumably existed to make the lack of acting less noticeable. The costumes were ridiculous, to the point of it looking like the costume designer thought that the costumes were for a comedy rather a serious tragedy.

I’m with Lisa and Jeffrey. Of the 75+ performances I’ve attended at the Kennedy Center, this was one of only two I thought was awful. And this was more awful than the other one.

The choreography can only be described as a hot mess, with too many people, doing too many things, often in too much of a hurry, and too often with herky-jerky-bordering-on-spasmodic movements that did not in any way fit the mood Jesus’s final few days. Had they been performing separately in a dance show, it would have been different, as they were talented dancers, but none of the people I went with or since spoke to could figure out what in the world the chroreographer was thinking. (And that’s before you get to Ultra-Intense Dance Girl, whose ill-timed paroxysms made me want to rush her some anti-seizure medication.)

The prop microphones and cords were also a distraction, and had the corollary effect of inhibiting the artists’ movements and expressions, which were already lacking. So too was having Jesus tote around a guitar he never played, and never seemed quite sure what to do with.

You’d think Ultra-Intense Convulsive Dancer would be the most ill-fitting and grimace-inducing part of the show. But nope, the director, who like the choreographer deserves 39 lashes more than Jesus ever did, managed two even greater forehead-slappers: first by having the palace officials stroke their microphone stands erogenously while plotting Jesus’s arrest (cuz who doesn’t have the urge to rub one out during a crucifixion?), and then by having Herod suit up in drag, with leotards and 3″ eyelashes, and essentially butchering one of the best songs and key moments of the show.

Like too much of the show, it left you wondering, “why? Why take an iconic show and butcher it this way?”

On the positive side, the set design was excellent, as was the band, and having the band a visible part of the set was a great move. Pilate was excellent, and unlike some of the other performers was aware there was an audience hoping to connect with him. Mary had some strong moments, and Caiphus was excellent, too, though for some reason the director several times had him blocking the view of those behind him. Simon was also good.

I suppose it’s odd to get this far into a summary without mentioning the main two characters. That’s because Jesus was okay — nothing more, nothing less — and we had the understudy during our performance, so for all I know he was doing it for the first time. Which brings us to Judas, on whom the show’s success depends since he needs to carry it both at the beginning and the end. This Judas had his moments — he certainly could sing well — but he rephrased and re-inflected many of the lyrics, and usually not for the better. Like Jesus and several other performers, he didn’t seem to connect much with the audience.

I went to this show super-psyched, excited to revive a show I first saw 48 years ago. I left thinking it had failed the most important test of any performance: would I have gone had I known beforehand how it would turn out. Sadly, the answer on this one is, “no way.” This “modern adaptation” should have come with a warning label.

My wife and I attended the April 12, 2022 performance in Dallas. Mary Magdalene was the stand out performer in our opinion. She has a beautiful voice, and everything about her performance was great. She should probably coach most of the other singers in how to properly enunciate their lyrics. We could not understand/decipher any of the vocals from Jesus or Judas. They could have been singing in Latin, it was awful, and painful to sit through. “Queen” Herod was way over the top, and one of the dumbest ideas we have seen make to the stage. On our 90 minute drive home, we came to the conclusion this was the worst stage performance we ever attended. We are in our 60’s and have been to a lot of stage productions.

We just saw this in Fort Worth and loved it so much we saw it twice. The leads are incredibly talented singers with Omar Lopez-Ceprero the most mesmerizing, LaVigne powerful, Rubaii rich and fluid. Choreography was fresh, riveting, dynamic. Having seen many, many shows on Broadway over the years, this incarnation of JCS ranks with the best.

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jesus christ superstar tour 2022 run time

Jesus Christ Superstar

50th anniversary tour.

  • Date Apr 29 , 2024
  • Event Starts 7:30 PM
  • Doors Open 6:30PM
  • Venue Santander Performing Arts Center
  • On Sale On Sale Now

Event Details

Jack Hopewell stars as Jesus, joined by Elvie Ellisas Judas and Faith Jonesas Mary. The tour also welcomes Grant Hodges as Caiphas, Nicholas Hambruchas Pilate, and Kodiak Thompson as Annas.The ensemble includes Ethan Hardy Benson, Joshua Bess, Jordan Wesley Brown, Jahlil M. Burke, Cooper Clack, Kalei Cotecson, Emma Cook, Lydia Eku, Savannah Fisher, Domanick Anton Hubbard, Haley Huelsman, Jeremy Makana Hurr, Brett Hennessey Jones, Lena Matthews, Hosea Mundi, L'Oréal Roaché, Colin Robertson, Darren James Robinson, Erich W. Schleck and Lauren Soto.

Featuring lyrics and music by Emmy, GRAMMY, Oscar and Tony winners Tim Rice and Andrew Lloyd Webber, the North American tour of this iconic musical is helmed by acclaimed director Timothy Sheader and cutting-edge choreographer Drew McOnie. Rounding out the creative team is costume design by 2016 Tony Award nominee Tom Scutt, with aset based on original designs byTom Scutt, lighting design by Lee Curran, sound design by Keith Caggiano, with music supervision by David Holcenbergand music direction by Mark Binns.

JESUS CHRIST SUPERSTAR is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ, as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.

JESUS CHRIST SUPERSTAR is a proven musical phenomenon with a world-wide fan base. As demonstrated by NBC’s Jesus Christ Superstar Live in Concert, this epic work attracted over 9.6 million viewers, earned the highest ratings in its time period, and received the highest critical ranking of any live musical event on network TV. On September 17th, 2021 a variety of special edition Jesus Christ Superstar albums, remastered at Abbey Road, were released. These special anniversary editions are a celebration of the original 1970 double concept album and it’s continued success spanning an incredible 50 years. Regent’s Park Open Air Theatre production of JESUS CHRIST SUPERSTAR won the 2017 Olivier Award for Best Musical Revival, selling out two consecutive engagements in 2016 and 2017. The production played a West End engagement at the Barbican in 2019 before returning to Regent’s Park Open Air Theatre inconcert version during the summer of 2020.The 2022-2023 North American Tour of JESUS CHRIST SUPERSTAR is produced by Work Light Productions. The original production was produced by London's Regent's Park Open Air Theatre.

Group Information

Groups discounts available for parties of 10 or more! Contact  [email protected]  for more information! 

Related Links

  • Jesus Christ Superstar Website
  • Facebook Event

Jesus Christ Superstar

Celebrating its 50th Anniversary, a new mesmerizing production of the iconic musical phenomenon returns to the stage. Originally staged by London’s Regent’s Park Open Air Theatre and helmed by the acclaimed director Timothy Sheader ( Crazy for You, Into the Woods ) and cutting-edge choreographer Drew McOnie ( King Kong, Strictly Ballroom ), this production won the 2017 Olivier Award for Best Musical Revival garnering unprecedented reviews and accolades. Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring.

With lyrics and music by Emmy ® , Grammy ® , Oscar ® , and Tony ® winners Tim Rice and Andrew Lloyd Webber, Jesus Christ Superstar is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes “I Don’t Know How to Love Him,” “Gethsemane,” and “Superstar.”

East Lansing engagement is welcomed by Warner Norcross + Judd LLP and White Law PLLC.

Photos: The company of the North American Tour of JESUS CHRIST SUPERSTAR  by Evan Zimmerman for MurphyMade.

Run Time, Age Recommendation, and Special Effects

Run time is approximately 1 hour and 35 minutes with no intermission. 

The show is recommended for ages 10 and up.

This performance will include atmospheric haze.

Accessibility

Sign Language Interpretation & Audio Description

These services are available for Sunday matinee performances of Broadway shows when requested a minimum of four weeks in advance. 

Contact the ticket office to request Sign Language Interpretation and/or Audio Description.

Open Captioning

Wharton Center offers open captioning on select Thursday evening Broadway performances.

The LED display is typically on the left side of the seating area, so to ensure optimal viewing of the LED display please  call the ticket office  for seats in view of the LED display.

View full list of accessibility services.

Jackson Donor Lounge

The donor lounge is open one hour prior to the performance. We have full cash bar service and a selection of complimentary snacks.

There will be no intermission.

Single-use lounge tickets issued to our Bronze, Silver, and Gold Circle donors will be collected at the door. Self-scanning entry to the lounge is available for all Platinum circle members (and circle levels above). Please scan your card for each member of your party. Staff will be on hand to assist you.

Please contact the Development Office at (517) 353-4640 or [email protected] with any questions.    

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jesus christ superstar tour 2022 run time

Tours To You

Your home for information about the touring broadway productions in north america, jesus christ superstar.

  • ^ Rescheduled from the 2019/2020 season
  • Producer: Work Light Productions
  • Music:  Andrew Lloyd Webber
  • Lyrics: Tim Rice
  • Director: Timothy Sheader
  • Choreographer: Drew McOnie
  • Associate Choreographer:  
  • Music Direction: Ryan Edward Wise
  • Lighting Design: Lee Curran
  • Sound Design:  Keith Caggiano
  • Costume Design:  Tom Scutt
  • Music Supervisor : David Holcenberg
  • Casting: Wojcik Casting Team
  • Booking Company: Bond Theatrical
  • Press Representative: Bond Theatrical

Although every effort is used to keep an accurate listing of personnel, changes can be made without notice. Notable replacements are marked with an asterisk (*).

Jack Hopewell  and  Elvie Ellis  return to the tour to star as  Jesus  and  Judas .

Jaden Dominique  joins the tour in the role of  Mary . The tour also welcomes  Grant Hodges  as  Caiaphas ,  Alex Stone  as  Pilate,  and  Mekhi Holloway  as  Annas .

The ensemble includes  Aja Simone Baitey, Ethan Hardy Benson, Joshua Bess, Sherrod Brown, Kalei Cotecson, Jaylon Crump, Alec Diem, Jaleel Green, Domanick Anton Hubbard, Haley Huelsman, Jeremy Makana Hurr, Katrice Jackson, Cameron Kuhn, Taylor Lane, Thomas McFerran, Jeilani Rhone-Collins, Johann Santiago Santos, Reese Spencer, TJ Tapp, Anakin Jace White,  and  John Zamborsky.

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  • Runtime : 1 hour 30 minutes
  • Intermissions : 0
  • Age Recommendation : 8+

A new production of the iconic musical phenomenon set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, Andrew Lloyd Webber’s legendary score includes “I Don’t Know How to Love Him,” “Gethsemane,” “Heaven on Their Minds,” and “Superstar.”

Jesus Christ Superstar

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  • Original Broadway Cast Album (mp3)
  • Live in Concert (DVD)
  • Vocal Selections
  • I Don’t Know How To Love Him
  • I Only Want To Say (Gethsemane)
  • Heaven On Their Minds
  • King Herod’s Song

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  • # Rescheduled from the 2020/2021 season
  • + Rescheduled from the 2021/2022 season
  • + Rescheduled to the 2022/2023 season
  • # Rescheduled to the 2021/2022 season
  • * Shows from 12-29 March 2020 were cancelled
  • ^ Rescheduled to the 2020/2021 season

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‘Jesus Christ Superstar’ 50th-anniversary tour returns to Playhouse Square to finish its pandemic-interrupted run

  • Updated: Jan. 27, 2022, 2:48 p.m. |
  • Published: Jan. 27, 2022, 9:00 a.m.

Jesus Christ Superstar

Aaron LaVigne stars in the 50th anniversary U.S. tour of "Jesus Christ Superstar," playing at the Connor Palace in Playhouse Square Feb. 2-20.

  • Joey Morona, cleveland.com

CLEVELAND, Ohio -- Back in March 2020, the cast and crew of the 50th-anniversary tour of “Jesus Christ Superstar” had performed just two shows of a planned three-week run at Playhouse Square before the COVID-19 pandemic upended everything.

“It was a tumultuous time for the world. I remember just being excited to be in Cleveland, close to my hometown,” recalled Aaron LaVigne, an Ohio native who has played Jesus since the U.S. tour launched in 2019. “We were all optimistic that we would be back within a couple of months at the latest. But little did we know.”

LaVigne drove back to his home in Cincinnati and waited 18 months for the call to return to the stage. That came in September and the tour finally returns to the Connor Palace on Wednesday to finish what it started nearly two years ago.

“It feels great,” he said. “We were joking the other day, saying, ‘Oh man, we have to go back to Cleveland where everything shut down.’ But knowing the hard work we put into this special show and to be able to do it in Cleveland again, I think it’s going to be a big victory for us.”

The show remains based on the 2016 award-winning revival at London’s Regent’s Park Open Air Theatre. But the actor, who estimates he has performed the role about 300 times to date, thinks audiences may see it differently now.

“I think it’s changed because humanity has changed since virus in the way we treat each other and the way we see each other,” he said.

What hasn’t changed: Andrew Lloyd Webber’s timeless music and Tim Rice’s provocative lyrics, a rock opera that began as a concept album in 1970 before making its way to Broadway. The score is full of iconic songs, from the title track to “Everything’s All Right,” “I Don’t Know How To Love Him” and LaVigne’s favorite, “Gethsemane.”

“It’s a brutal sing,” he said. “It’s a good challenge for me to show up and be able to bring a fresh, honest performance for a brand new audience every night.”

For this iteration, director Timothy Sheader really wanted to make the show a celebration of the music, putting the raw power of the sound front and center. So, he and the creative team went back to the source material, the original double LP -- nicknamed “The Brown Album” for its nondescript brown cover -- and started there.

“They said, let’s dive as deep into the music, lyrics, melodies and orchestrations as possible and then cast the people who can do that and tell a really intense story at the same time,” LaVigne said. “This version stays true to the music and stays true to storytelling, but a lot more of it is told through dance and choreography.”

The result is more rock concert than traditional musical and contains elements audiences have never seen before in previous stagings. Jesus is reimagined as a singer-songwriter, the frontman of the band. LaVigne even gets to show off his guitar skills. The show still focuses on the week leading up to the crucifixion of Jesus as seen through the eyes of the disciple who betrayed him, Judas, played onstage by Omar Lopez-Cepero. But it also explores the price of fame and the destructive nature of mob mentality.

“In this production, the mob of people who build Jesus up is the same mob who tear him down,” LaVigne said. In his view, the modern setting and themes make this biblical story as accessible and relevant as ever.

“If you’re a person of faith and trying to get something out of it, there’s plenty there. That’s obvious,” LaVigne said. “But we’re also bringing a very human aspect to this. We’re essentially telling a story of two friends. So, if you’re not a person of faith or if you’re just coming to be entertained, I think there’s plenty there.”

For Cleveland theatergoers, there’s an added bonus, too. The production is unlike any other in the country, enhanced by 22 local strings players joining the 11-piece traveling ensemble. The combined 33-piece orchestra creates an audio experience Playhouse Square describes as “live theatrical surround sound.”

“It gives you chills. It moves your soul,” the actor said. “It’s beautiful.”

“Jesus Christ Superstar” opens at the Connor Palace on Feb. 2 and runs through Feb. 20. Tickets start at $59 and can be purchased at playhousesquare.org .

“Come in with an open mind,” LaVigne said. “The show is heavy and very emotional, but it rocks.”

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Celebrating its 50th Anniversary, a new mesmerizing production of the iconic musical phenomenon returns to the stage.Originally staged by London’s Regent’s Park Open AirTheatre and helmed by the acclaimed director Timothy Sheader ( Crazy for You, Into the Woods ) and cutting-edge choreographer Drew McOnie ( King Kong, Strictly Ballroom ), this production won the 2017 Olivier Award for Best Musical Revival garnering unprecedented reviews and accolades. Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring.

With lyrics and music by Emmy, Grammy, Oscar and Tony winners Tim Rice and Andrew Lloyd Webber ,  Jesus Christ Superstar is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How toLove Him’, ‘Gethsemane’ and ‘Superstar’.

The North American Tour company of Jesus Christ Superstar.

- The Guardian

- The New York Times

- The Daily Telegraph

- Chicago Sun Times

Recommended For

The show is recommended for ages 10 and up.

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Jesus Christ Superstar

Jesus Christ Superstar

Fifth third bank broadway in cincinnati, presented by trihealth.

  • Date Dec 6 - 18 , 2022
  • Venue Aronoff Center
  • Location Procter & Gamble Hall
  • Ticket Prices Starting at $34.25
  • Availability On Sale Now
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