Des McAnuff’s sleek and streamlined version of the rock opera has some stunning stage pictures, but it’s quite hard to find them within all the organized chaos. There may be an ensemble member or five who don’t really need to be on the stage. Take the overstuffed ensemble of Jesus Christ Superstar and shove them on the empty boat over at Anything Goes and perhaps you’ll have two happy musicals! One issue with the production I found was the score is stuffed with some recognizable hit numbers, but in between those numbers there are the “throw-away” songs. I don’t think I was alone in thinking they were throw-aways as the audience dimly applauded, that is when given the chance. But when those smash songs ended, there was a roar in the crowd. An uneven reception does not make a successful production. But through the mediocrity was a standout. And that standout was visible during his first song. I think it’s safe to say that upon finishing the final note of “Heave on Their Minds,” Josh Young solidified his Tony nomination. Young may not have the star titular character, but he’s definitely the focus as Judas. Young’s voice is incomparable. The boy has range! You could call him a classically trained Adam Lambert, who I personally would love to hear sing the role of Judas. But we have to remember, this isn’t Judas’s story. We’re there for Jesus. Like Young, Paul Nolan has a similarly strong voice. Both Nolan and Young have a pop rock style in their voice that very much fit this production. Beyond Nolan’s voice, there was still something to be desired. Maybe it’s just how the character is written, but Nolan just seemed to be missing something. Chilina Kennedy’s Mary Magdalene seemed to run across the stage quite a bit, that is until she sang “I Don’t Know How to Love Him” when she was stationary for her big number. It was a good performance for a subpar production, unfortunately for her she was overshadowed by the big voices of Nolan and Young. Once her big moment finished, she was very much forgettable. Many of the secondary characters, including Tom Hewitt’s Pontius Pilate, Lee Siegal’s Simon Zealotes, and Aaron Walpole’s Annas, used their time on stage wisely, singing their songs well. But it was Bruce Dow’s King Herod who stopped the show. Though the production number seemed entirely out of place in this piece, his “Herod’s Song” was magnificent and a wonderful moment to remember. You wanted him to stay on stage much longer. Especially since he didn’t even get his final line on stage but behind the set. Quite unfortunate.

In a big season for theater, Jesus Christ Superstar will be one of those forgotten productions. There was no reward or payoff in the end. This production is better suited for an edgy regional house. If ever there was proof that a notable title will put butts in the seats, this is it. Audiences will come flocking leaving more deserving shows to fall in the shadows.