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: Fiddler on the Roof at Third Wall Productions

By Jason Crawford Samios-Uy
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Running Time: 2 hours and 45 minutes with one 15-minute intermission
Tradition is what keeps things together for some people but there are folks who thrive on change. Tradition and Change certainly make strange bedfellows and Third Wall Production‘s lates offering, the classic Fiddler on the Roof, Directed by Lance Bankerd, with Music Direction by Edward Berlett, Choreography by Kali Baklor, Set Design by Jordan Hollett and Costume Design by Sally Kahn, takes us back to the early part of the 20th century and gives us the tale of a poor, Russian milkman struggling with and trying to balance his traditions and radical, new ideas of a new era.
I have to admit, I had serious reservations when I walked into the theatre and realized Director Lance Bankerd is putting Fiddler on the Roof – a big show – in an intimate space and in the round! Well, as soon as the first number started, though it was a bit tight with such a massive cast, it actually worked and it worked quite well!
Set Designer Jordan Hollett manages to give the audience a full musical theatre experience with set pieces and backdrops rather than full sets and it seems less tedious and just as effective. The story is told with benches and tables with a few “fancy” pieces such as a spinning bed and required wedding canopy. Kudos toe Hollett for his inventive design and intelligent use of space. Also worth mentioning is the painting of the large backdrops by Artists Ann Pallank, Amy Rudai, and Emma Hawthorn, adding great value to the space and the production as a whole.
Sally Kahn’s Costume Design is on point and her choices for this ensemble fir the bill of a poor Eastern European village in the early 20th century. Her attention to detail is commendable as this piece is not only somewhat of a period piece but also a cultural piece dealing with rules and restrictions of the Jewish religion that Kahn seems to understand and wardrobes her actors as such.
Kali Baklor takes on double-duty as both Choreographer and tacking the whirlwind role of Fruma-Sarah, the dead wife of the town butcher. Balkor’s choreography work is impressive and befitting for the piece and her ensemble. The space is intimate so there isn’t a ton of room for her large cast, but she uses what space she does have wisely with minimal but interesting and entertaining choreography. Along with keeping the cast in step, her take on the loud, obnoxious Fruma-Sarah is high-energy, confident and quite admirable.
Music Director Edward Berlett has this ensemble sounding beautiful in each number and his work with actors in the featured numbers is apparent as they run smoothly and sound splendid. I do regret the orchestra has no recognition in the program because they sound absolutely phenomenal. Taking up almost a third of the space, they were not overwhelming and blended in nicely with the ensemble making for a very pleasant sound. Featured musician, violinist Jonathan Goram is a gem in this impressive orchestra as he didn’t falter once during his solos making for an sensational performance. Kudos to the pit orchestra for a job well done and, hopefully, you’ll all get an insert in the program before the production is over!
Direction by Lance Bankerd is innovative and well-thought out, presenting this traditional musical in an nontraditional space. The space is tight, and the attempt of audience immersion from some of the cast is a little much, but some people enjoy that sort of thing and, overall, it was a joyous experience. There are a few curious casting choices, in appearance only, such as some characters who are younger than others actually looking older, but, all in all, it’s a very well put-together production. Fiddler on the Roof is A LOT of show and Bankerd has managed to keep the action moving and his cast kept the pace nicely. Major kudos to Lance Bankerd on a superb job with this piece.
Emma Hawthorn takes a turn as Yente, the matchmaker and pulls off the part nicely. This role is more of a comic relief and has a lot of the funny lines, but Hawthorn’s timing is a bit off on some of the jokes that could have been gold. Overall, however, she gives a fine performance and she understands the important role (after all, there’s an entire song in her honor!). She leads the attempt to bring the audience into the action with asides and interactions and seems successful in her attempts.
Michelle Hosier tackles the supernatural role of Grandma Tzeitel, who Tevye claims comes to him in a dream and she is delightful. She has a beautiful, strong soprano that is featured in “The Dream” and she’s comfortable and confident in the role.
Michael Zellhofer takes on the role of Lazar Wolf and his performance is top notch. He has a strong stage presence and makes this role his own and plays it confidently with a balance of drama and brilliant comedic timing.
Taking on the roles of eldest daughter Tzeitel and her unintended beau, Motel, the tailor are Lauren DeSha and Daniel Plante. From the moment DeSha steps onto the stage, she is a joy to watch. She gives a natural, comfortable performance, both in the portrayal of her character and vocally, and she has great chemistry with her fellow cast mates, espeically with Plante, her character’s love interest. The two give a believable performance and though Plante may not give the strongest vocal performance, but he is certainly giving 100% effort making for a commendable and confident performance.
Next up, Mea C. Holloway tackles the role of Hodel, the second eldest daughter and Joe Weinhoffer as portrays her counterpart, Perchik, the Student from Kiev. Aside from looking a bit older than the actress playing her older sister, Holloway gives a brilliant performance, vocally, but her portrayal of Hodel, though admirable, fell just a little flat. Weinhoffer’s interpretation of Perchik is spot on and his confidence and charisma shines through in his performance. Though he sounds a bit scripted, at times, his a clear, smooth, resonating voice fits the character near perfectly.
Alex Clasing who plays Chava, the third eldest daughter, is a definite standout in this production and her performance is a pleasure to watch. Vocally, she has a strong, clear voice that makes one take notice, even in the group numbers like “Matchmaker” and her acting chops are on point. Clasing portrays Chava naturally and authenticly and works easily with her cast mates. Her performance is one to watch in this piece and I’m looking forward to seeing more from this young actor.
Jenifer Grundy-Hollett as Golde is a treat and she gives this role 100%. Her comedic timing is spot on and she really grasps her character, making wise choices and making Golde a realistic mother and wife.  Her lovely soprano shines through, vocally, especially in numbers like “Do You Love Me?” and “Sunrise, Sunset.” She does play the part with a heavy hint of New York City in both accent and attitude but she still pulls the part off authentically and works well with all her cast mates.
Baltimore theatre veteran Roger Schulman as Tevye is the highlight of this production and he leads this ensemble with ease. Tevye is a traditional, yet jovial character and Schulman embodies these attributes superbly. His performance of Tevye’s signature “If I Were a Rich Man” is a joy to watch and Schulman refreshingly makes it his own. His overall delivery is natural and he makes the audience feel welcome and at home. He presents the subtle transition of his character seamlessly but with certainty and his presentation of Tevye’s evolution and growth is what knocks this performance out of the ball park.
Final thought…Fiddler on the Roof is usually a show that people love or hate. Rarely is there an in between but this production at Third Wall Productions is a creative, innovative presentation of this classic Broadway show. I had my reservations with it being in-the-round, at first, but this production did not disappoint. The intimate space was a bit cramped for the large cast and the attempt of audience immersion was a bit much, but overall, Third Wall Productions can chalk this one up as a bona fide success. The gifted ensemble and orchestra is a joy to watch and hear and the outstanding performances of these talented players should not be missed.
This is what I thought of Third Wall Productions’ production of Fiddler on the Roof… What did you think? Please feel free to leave a comment!
Fiddler on the Roof will play through February 26 at Third Wall Productions, 5801 Harford Road, Baltimore, MD. For tickets, call the box office at 443-838-4064 or purchase them online.
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