REVIEW: Venice Theatre finds renewed spirit in ‘Superstar’

There’s an unexpected jolt of energy and emotion in the Venice Theatre’s Summer Stock production of “Jesus Christ Superstar.”

Sam Garvin as Jesus, left, Tony DeNiro as Judas, Kaitlyn Terpstra as Mary in The Venice Theatre's Summer Stock production of "Jesus Christ Superstar." VENICE THEATRE PHOTO

Director and choreographer Brad Wages takes a bold approach with a contemporary staging inspired by the ongoing religious clashes in the Middle East. It suits the young performers who have put the show together as part of a summer boot camp program.

Scenic designer John Andzulis has impressively turned the stage into something like a rundown, war-torn industrial garage that perfectly suits this gritty telling of the last days of Jesus. Karly Tufenkjian’s Biblically inspired modern costumes work effectively with Derick Kitson’s lighting to create a time-spanning and timeless aura.

For the most part, the singing isn’t strong enough for Andrew Lloyd Webber’s rock-like score and Tim Rice’s edgy lyrics, but there is plenty of passion in the performances.

The main vocal exception is Kaitlyn Terpstra, who plays Mary Magdalene with a fiery spirit, coupled with a sweet voice that conveys a range of emotions.

As Jesus, Sam Garvin has the right attitude and sensibility. His voice falters at times, but you never doubt his intentions, and his death scene, though depicted a bit slowly, is quite moving.

Tony DeNiro, who has grown up on the Venice Theatre stage, is powerful as Judas Iscariot, and while he also struggles musically, he perfectly suits the persona of a rebel. Kelly Leissler camps it up as King Herod with a nod to Frank N Furter from “The Rocky Horror Show.”

Sam Garvin as Jesus of Nazareth in the musical "Jesus Christ Superstar" at Venice Theatre. VENICE THEATRE PHOTO

During the comically sarcastic “King Herod’s Song,” Leissler dons a Hitler-like moustache and the chorus goosesteps behind him as he challenges the people to follow his thoughts about Jesus. It’s one of the few times that Wages overreaches with imagery in his staging.

There also is some impressive work from Emily Ross as Annas, one of the priests who challenge Jesus.

Musical director Michelle Kasanofsky leads a large off-stage orchestra that drives the music, but a heightened electronic sound makes it seem more computerized than live.

Still, Wages’ production proves that this rock musical is open to varying interpretations and comes alive when directors and performers take chances.