Review: Jesus Christ Superstar at Third Wall Productions

By Jason Crawford Samios-Uy
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Running Time: 2 hours with one intermission
Regardless how religious one is, many stories in the Bible are familiar because many of the stories have been the inspiration for countless artistic endeavors. Usually, one doesn’t even have to practice a faith or be spiritual to know the story of Jesus Christ, and whether one does believe or not, does not hinder the amazing storytelling the Bible offers. The latest offering from Third Wall Productions, the popular Jesus Christ Superstar, with Music by Andrew Lloyd Webber and Lyrics by Tim Rice, Directed by Mike Zellhofer and Music Direction by Daniel Plante and Choreography by Kristen Rigsby reminds of those stories and how they can be presented in a modern, yet simple format making it extraordinarily entertaining while staying on message.
Jesus Christ Superstar, still going strong after more than 40 years, is loosely based on the Gospels of Matthew, Mark, Luke, and John and tells of the events during the last week of Jesus’ life while touching on his relationships with Judas Iscariot, Mary Magdalene, the Disciples, and the Romans, culminating with the Crucifixion and death of Jesus.

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Jesus and the Apostles at the Last Supper. Credit: Kristin Rigsby Facebook/Third Wall Productions


Taking place in the Sanctuary of the St. Thomas Episcopal Church, the overall design works quite well. With no actual set, lighting is mainly used to distinguish between scenes and Light Design by Jim Shomo connects the scenes smoothly, setting the mood for each. At times, the lights are overwhelming and a bit too flashy, contrasting with the minimal look of the entire production, but, in general, Shomo does an extraordinary job lighting this space – a type not often used for traditional theatre.
Costume Design by Amy Rudai is traditional and simple, fitting with the production very nicely. Rudai does elaborate on a few of the costumes such as those for Pilate, King Herod, and the Pharisees but not so much as they stood out so much they are a distraction, but gave the production a skillful balance and authentic look.
Choreography be Kristin Rigsby is on point for this production. She seems to really know her cast and her choreography accentuates their talents and abilities and keeps the production moving and exciting. Rigsby’s cast of able featured dancers (Jillian Arnold, Grace Volpe, Elizable Volpe, Grace Dillon, Andrea rudai, Maggie Flanigan, Clare Green, Kali Baklor, Brooklyn Ritter, and Jennifer Alexander) are definite highlights of this production and the choreography is well though-out, well rehearsed, varied, and fresh.
Music Director Daniel Plante is superb and he has this cast singing in harmony and with gusto. The ensemble of this piece is strong and adds great value to the production as a whole. With such a familiar score, it can be difficult not to imitate the many previous renditions but try to add a crazy spin on the material but Palante seems to understand that less is more and keeping it traditional isn’t such a bad thing sometimes. Under Plante, this ensemble is well rehearsed and does an extraordinary job with the material.
It’s worth mentioning that, once again, the Pit Orchestra is phenomenal and gives a splendid performance. Consisting of Conductor Andrew Zile, Marshall White on Trumpet, Alan White on Horn, Kevin Jones on Bass Guitar, David Kistler on Lead Guitar, W. William Zellhofer on Piano, David E. Booth, Jr. on Reeds, Winfield Clasing on Drum Set, and Daniel Plante on Percussion, this orchestra is one to be reckoned with. Kudos for a job well done!
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Jesus Christ Superstar. Credit: Kristin Rigsby Facebook/Third Wall Productions


Michael Zelhoffer takes the reigns of this production and kudos to for telling this timeless story in a way that is entertaining but not overwhelming for the senses. Hats off to Zelhoffer for a fantastic production. Many Andrew Lloyd Webber productions can be put in to the category of “Extravaganza” or even called spectacles (which I personally don’t mind), but Zelhoffer does it right with this piece. Though there are built in restrictions when your stage is the altar of a church, but Zelhoffer doesn’t worry about fancy sets and simply tells the story. That’s what it’s about and he hits the nail on the head with this piece. I appreciate he keeps it simple and let’s the actors and the score do what they are meant to do. He also takes a turn onstage as Pontius Pilate, the conflicted Roman in charge of saying “yay” or “nay” to the Crucifixion and he gives an admirable performance.
Moving onto the performance aspect of this piece, The Pharisees, the nemesis of Jesus of Nazareth are played nicely by Anthony Singer (Caiaphas), Harper Craven (Annas), and Brian Becker (Priest 3), who all exude a believable “holier than thou” persona making it easy for the audience to dislike them, in general, aside from a few lyric flubs from Singer, the trio has a great chemistry, look the parts, and give strong performances.
Mea Celeste Holloway, a Third Wall Productions regular, takes on the role of Mary Magdalene, and for being the only real featured female role in this piece, any actress in this part has the chance to shine amidst her male counterparts. The character herself is forlorn and apprehensive but Holloway just blends in with the rest of the ensemble, giving a subdued performance. Between her featured vocal numbers, Holloway seems to just be going through the motions and the character may have been more effective with a little more “oomph” than she gives. That being said, she gives absolutely lovely performances of her featured numbers such as the standard “I Don’t Know How to Love Him” and “Everything’s All Right.”
Chip Willet as Simon and Andrew Pedrick as Peter, two of the featured Disciples, and they rock it out, as required, and give commendable, confident performances both character-wise and vocally. Willet is strong as Simon and takes command of the stage during his featured number “Simon Zealotes/Poor Jerusalem” and Andrew Pedrick nails it with his portrayal of a man at odds with accepting his role in Christ’s mission or denying Christ to save his own skin and he gives superb performances of his featured numbers “Peter’s Denial” and “Could We Start Again, Please.”
Thomas Rendulic portraying King Herod is a delightful highlight of this production. One of the more humorous roles in this piece, Rendulic embodies this flamboyant character and Rudai’s costume design is spot on, all the way down to the gold gladiator sandals. His performance of the upbeat, ragtime “King Herod’s Song” is well done and entertaining, along with superb backup dancers.
Timoth Copney tackles the complex role of Judas Iscariot and his portrayal is quite worthy of the well-known character. Copney beautifully expresses the heavy emotion and turmoil of this trouble character and you can clearly see how he delves into the part. Vocally, Copney is powerhouse. Though some parts of some of the songs may have been a tiny bit out of his vocal range, he pulls off featured numbers such as “Heaven on Their Minds” and the title song, “Jesus Christ Superstar” confidently and passionately, making the role and the songs his own, commanding the stage and giving an exceptional performance.
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The Crucifixion. Credit: Kristin Rigsby Facebook/Third Wall Productions


Having performed the role numerous times, James Fitzpatrick as Jesus of Nazareth is glorious. His voice is a perfect fit for this role and he gives a 100% commitment, giving an authentic, passionate performance that commands attention. Aside from a few obligatory high pitched screams that seem out of place, Fitzpatrick’s performance is near perfect and on point both in character and vocally as revealed in his poignant rendition of “Gethsemane,” Jesus’ only solo piece. Overall, Fitzpatrick seems to really understand who he’s portraying and embodies him wholly.
Final thought… Jesus Christ Superstar at Third Wall Productions is a well thought-out and well put-together production that doesn’t slap you in the face with overdone sets or costumes but lets the actors and score tell the timeless story of Jesus Christ’s last days on earth. The familiar score is kept intact and the performers really seen to understand the story they’re telling. Minimal, but entertaining and committed, get your tickets now for this limited run!
This is what I thought of Third Wall Productions’ production of Jesus Christ Superstar… What did you think? Please feel free to leave a comment!
Jesus Christ Superstar will play through July 8 at Third Wall Productions, St. Thomas Episcopal Church, 1108 Providence Road, Baltimore, MD 21286. For tickets, purchase them at the door or purchase them online.
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Review: Superior Donuts at Third Wall Productions

By Jason Crawford Samios-Uy
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Running Time: 1 hour and 40 minutes with one 10 minute intermission

Ed Higgins and Isaiah Evans. Credit: Stasia Steuart Photography

Ed Higgins and Isaiah Evans. Credit: Stasia Steuart Photography


In these crazy times since the election and recent swearing in of the new President of the United States, whether we want to admit it or not, there are definite divisions between races, political though, and fundamental beliefs. That being said, Third Wall Productions latest offer, Superior Donuts by Tracy Letts, Directed by Grant Myers with Set Design by Jordan Hollett, Light and Sound Design by Jim Shomo, and Costume Design by Grant Myers, gives us a story of how people from different walks of life and beliefs can actually grow to understand each other and get along even though those differences are still present.
Michael Zollhofer, J. Purnell Hargrove, and Tracy Grimes. Stasia Steuart Photography

Michael Zollhofer, J. Purnell Hargrove, and Tracy Grimes. Stasia Steuart Photography


Superior Donuts, a local donut shop in downtown Chicago, isn’t much to look at but it is a respectable business owned by Arthur Przybyszewski (played by Ed Higgins) and is frequented by two beat cops (Tracy Grimes and J. Purnell Hargrove), a bag lady (Emma Hawthorn), and the Russian businessman, Max) who runs the DVD shop next door (Michael Zellhofer). These characters, all from different walks of life, make up a delightful and diverse group of people who seem to care about Superior Donuts more than its proprietor until Franco Wicks (played by Isaiah Evans) enters, looking for a job. The older, white Arthur and younger African-American Franco have their differences, of course, but find common ground with the donut shop and actually grow to care about each other. The subplot of Franco’s past is intriguing and puts Arthur’s friendship to the test, which he passes with flying colors. The show doesn’t provide a lot of laughs or the happiest of endings (but I wouldn’t say it was a sad ending either), but it tells an important story.
Bill Brisbee and Isaiah Evans. Credit: Stasia Steuart Photography

Bill Brisbee and Isaiah Evans. Credit: Stasia Steuart Photography


Among the talented ensemble, there are a few standout performances such as Isaiah Evans, as Franco, who gives a confident, authentic performance that makes his character very likable. His moves about with purpose and connects with his fellow actors and the audience making for a stellar performance.
Adding the only comedy to the piece are Michael Zellhofer and Emma Hawthorn who play their characters to the hilt. Zellhofer’s performance as Max Tarasov is commanding and believable and his skill in playing the character straight without working to hard for the laughs his character garners is brilliant. Emma Hawthorn as Lady, the friendly neighborhood bag lady, is outstanding in her role playing it with both humor and a touch of poignancy that really makes you feel for her.
Emma Hawthorn and Ed Higgins. Credit: Stasia Steuart Photography

Emma Hawthorn and Ed Higgins. Credit: Stasia Steuart Photography


Ed Higgins tackles the role of Superior Donuts sole proprietor Arthur Pryzbyszewski and through he gives an admirable performance, it’s a bit shaky and unsure, at times. He has great chemistry with the rest of the ensemble, especially Isaiah Evans, and he carries the character well, albeit a bit monotone, notably during the out-of-nowhere monologues directed toward the audience. Aside from those minor observations, overall, he gives a commendable performance.
Emma Hawthorn as Lady. Credit: Stasia Steuart Photography

Emma Hawthorn as Lady. Credit: Stasia Steuart Photography


The rest of the talented ensemble hold their own and add value to this production. Tracy Grimes and J. Purnell Hargrove as Officers Randy Osteen and James Bailey, respectively, are charming as the beat cops and friends of Arthur, adding a bit of romance with Officer Randy and old Arthur. Bill Brisbee as Luther Flynn, the tough bookie could play the part a bit more intimidating but he has Chip Willett as Kevin Magee, Flynn’s goon, to pick up the gruff slack. Even William Zellhofer’s Russian is impressive in his brief appearance.
I was pleasantly surprised by the quaint set that was absolutely stellar and very befitting of this piece. Simple, yet detailed, Jordan Hollet’s design is authentic and well thought-out, putting the audience right smack dab in the middle of an old fashioned donut shop, adding an immersive feel to the entire production. Going along with the Set Design, Jim Shomo’s Light and Sound Design is minimal, at best, but to no real fault of Shomo. There really isn’t a lot going on with lights or sound but, then again, when it comes to plays, sometimes minimal is best. There’s not really a need for any fancy light show or sound so, in a way, it fits nicely. It’s interesting to note that it was decided to not use any music for this production, as well, but the use of music might have set the mood better for the scenes and helped with smoother transitions, which were a bit bungled.
The Cast of Superior Donuts. Credit: Stasia Steuart Photography

The Cast of Superior Donuts. Credit: Stasia Steuart Photography


Director Grant Myers made some curious choices while taking the helm of this production. The transitions were a little unkempt, the frequent breaking of the fourth wall from one of the main characters seemed to come out of nowhere, and a certain fight scene was difficult in such an intimate space, but, overall, despite a some other minor issues, the piece is charming and, as a whole, is very good and well put together. It gets the point across that, with a little trying, anybody can get along, despite their differences. The ensemble gives a commendable performance and they all have great chemistry and work well together.
Final thought…in this time of uncertain race relations and division in current events, Superior Donuts at Third Wall Productions is a light but through-provoking piece expressing how different generations and races can come together in friendship and love. There’s an old adage that “it takes all kinds” and this production demonstrates this very well with its beautifully diverse ensemble who works well together to tell this important story.
This is what I thought of Third Wall Productions’ production of Superior DonutsWhat did you think? Please feel free to leave a comment!
Superior Donuts will play through January 29 at Third Wall Productions, 5801 Harford Road, Baltimore, MD. For Tickets, go to thirdwall.org for information or purchase them online.
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