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: Little Women the Musical at Third Wall Productions

By Jason Crawford Samios-Uy

Running Time: 2 hours and 45 minutes with one intermission

Cast of Little Women the Musical. Credit: Karen Osborn, House of Bankerd


This season, I’ve seen more Victorian age stories brought to the stage than I’ve seen in my entire life (only about three, but still) and, I’m not a huge fan of this era with its stuffy clothes and attention to the particulars of etiquette and all that jazz but, I have to say, aside from the style (with which all the Costume Designers did impeccable work), I actually enjoyed to the stories being told. Thus is the case with Third Wall Productions’ latest production, Little Women the Musical with Book by Allan Knee, Music by Jason Howland, and Lyrics by Mindi Dickstein, based on the novel by Lousia May Alcott. This production is Directed by Christine Thomas with Music Direction by Eliza van Kan, Set Design by Jordan Hollett, and Costume Design by Lisa Ann Dickinson and makes for a charming evening of relatable and enjoyable musical theatre.
Set Design by regular Third Wall Productions designer Jordan Hollet is massive, to say the least. Well, for the space at Third Wall Productions, it’s massive. With essentially four different scene settings, an outdoor garden, a living room, an attic, and a small parlor room, Hollet has managed to cleverly fit all of this in the space provided him. The one level design works quite well, with an elevated attic area, but there are spots in the audience where the action is not easily seen. However, that being said, it’s really the nature of the beast with spaces like this and of no real fault to the designer. Just note that the phrase, “Not a bad seat in the house” does not apply here as there are a few seats that aren’t ideal. Overall, the set design is innovative and creative and helps the story along very nicely and keeps the action interesting.

Grace Dillon, Mea Holloway, Lizzy Jackson, Maggie Flanigan, and J. Purnell Hargrove. Credit: Karen Osborn, House of Bankerd


Lisa Ann Dickson, with the help of House of Bankerd gives us an on point Costume Design for this piece. As stated, this is a Victorian era story and the wardrobe may be just as important as the story itself and Dickson knocks it out of the ballpark with this one. The attention to detail and style are exquisite and seem to be tailor made for each performer. Dickinson and House of Bankerd are to be commended for the fantastic Costume Design of this piece.
I admit I was expecting a different type of score walking into this as I had never experienced Little Women the Musical before but I was pleasantly surprised. The music for this piece is quite contemporary and entertaining and is allowed to shine under Music Direction by Eliza van Kan. The ensemble has a very good, strong sound and seems to make easy work of this score. It’s worth mentioning the pit orchestra for this piece gives a polished, accomplished performance as well. Though the orchestra may have drowned out the cast, at times, and weren’t as tight as they usually are (here and there), they still give a very good showing in this production.
Christine Thomas not only plays Marmee March in this production, but she also takes the helm of it and her vision for this piece is apparent as she brings the story of the March girls to the stage. She keeps the action moving and seems to really grasp the story of these ladies – some who are traditional for their time and some who are forward thinkers. She understands the relationship between these sisters and the different stories going on in this piece and presents them beautifully though, the link between the characters is a little weak and the chemistry is there, but at times seems as though the actors are just going through the motions. Regardless, the entire ensemble works well together and creates Thomas’ vision nicely and the solo moments are absolutely lovely. As Marmee March, she is a vocal powerhouse. She has a strong, clean vocal style and commands the stage with every note in her solos “Here Alone” and “Days of Plenty.” Her portrayal as the matriarch of four daughters is admirable and she seems quite comfortable in the role.
Producer Mike Zellhoffer steps onto the stage as the seemingly curmudgeon neighbor, Mr. Laurence, and Patricia Brunker takes on the role of the actual curmudgeon Aunt March. Both Zellhoffer and Brunker give commendable, authentic performances complimenting the story and the other characters while helping move the story forward. Brunker gives a terrific vocal performance and totally embodies the character of Aunt March and all her stuffiness, while Zellhoffer transitions nicely from stern to kind in his wonderful character work.

Grace Dillon, Mea Holloway, Lizzy Jackson, Maggie Flanigan, and J. Purnell Hargrove. Credit: Karen Osborn, House of Bankerd


Purnell Hargrove takes on the role of the amiable Laurie Laurence, quite literally the boy next door and close friend to the March sisters. Hargrove gives a committed and confident performance and has good chemistry with his cast mates. He looks like he’s having a blast up on the stage and, in his featured numbers “Take a Chance on Me” and “Five Forever,” he seems to be pushing his upper range, vocally, but still gives a commendable showing.
Taking on the role of the youngest sister, Amy March, Lizzy Jackson has a good comprehension of this character and plays her well, though, at times, is a bit scripted in her delivery. However, that being said, she nails the demeanor and personality of this character and plays the transition of Amy March beautifully.
Maggie Flanigan tackles the role of the eldest sister, Meg March, and does so with gusto. She works well with her fellow actresses and her portrayal of Meg makes her a likeable character who’s just trying to find her own way in life with Mr. John Brooke, played by Andrew Pedrick. According to his bio, Pedrick is making his way back to the stage after a decade or so and though he’s quite natural, the character gets lost, sometimes, and I see Andrew Pedrick onstage rather than John Brooke. However, as soon as Pedrick opens his mouth to sing as in his featured number “More Than I Am,” a duet with the able Maggie Flanigan, it’s pure art. He has a smooth, resonating tone and I found myself putting down my pen just to listen to him.

Patricia Brunker and Grace Dillon. Credit: Karen Osborn, House of Bankerd


Daniel Plante takes on the role of Professor Bhaer, the serious and stern fellow boarder to Jo March at a New York City boarding house. Plante’s interpretation is spot on and authentic and though he decided not to use an accent (the character is German), it doesn’t hinder his performance in the least. Vocally, Plante has a unique sound and, technically, gives a superb performance of “How I Am” making for a strong performance overall.
Regular, Mea Holloway takes on the role of the gentle Beth March, the other middle sister who has a sweetness and saintliness about her that the other sisters don’t seem to have. Holloway plays this part to the hilt and impressively portrays the sweet nature of this character consistently throughout. She impeccably interprets her featured songs, “Off to Massachusetts” and the poignant “Some Things are Meant to Be” and she embodies this character wholly.

Grace Dillon as Jo March. Credit: Karen Osborn, House of Bankerd


Grace Dillon as Jo March couldn’t have been cast more perfectly. Dillon takes this role and runs with it, making it her own while sticking to the basics of this character of the exuberant, exciting, forward thinking, middle sister, Jo March. With high energy and a seemingly complete grasp of this character and her objectives, Dillon is authentic and confident in this part. She has a great command of the stage and, aside from her acting abilities, gives an outstanding vocal performance as well. As the evening progresses, she seems to pull back, but still gives powerful performances in songs such as “Astonishing” and “The Fire Within Me”. Kudos to Dillon for a job well done.
Final thought… Little Women the Musical at Third Wall Productions is an enjoyable and stimulating piece that this company executes wonderfully. The story is entertaining and relevant, concerning itself with the struggle of woman and the different choices different women make each day, even if they are cut from the same cloth. With strong female characters, the message of finding one’s own way and overcoming any obstacle is clear and apparent. With a fun score and a clever script, the story is easy to understand and the performances are top notch. Whether you’re familiar with the story or seeing it for the first time, Little Women the Musical will delight and entertain and is a production well worth its price of admission.
This is what I thought of Third Wall Productions’ production of Little Women the Musical… What did you think? Please feel free to leave a comment!
Little Women the Musical will play through May 21 at Third Wall Productions, 5801 Harford Road, Baltimore, MD 21206. For tickets, call 443-838-4064 or purchase them online.
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