Forty-two people are listed in the playbill as the cast and crew for the Pontiac High School’s rendition of Andrew Lloyd Webber and Tim Rice’s rock opera, Jesus Christ Superstar. And every one of them had a role in bringing the house to their feet for an evening few will forget. If Shawville is to have its own version of Broadway, it will likely be named after Maple Street – where the Pontiac High School is located and where it has become common to experience quality entertainment.

Now, it should be noted that this rock opera, masquerading as a musical, is considered very difficult to sing. The vocal range is significant and when combined with the emotive ambitions of the storyline, it provides a challenge for even the most experienced of performers.

Undaunted, directors Phil Holmes and Debra Paquette brought confidence and guidance to their team and adjusted the musical template to fit their vision. And what a fit with a delivery to match.

When Judas, played by Emma Carty Vasiliauskas, walked on stage to deliver the opening salvo with lyrics “You’ve started to believe the things they say of you” one understood more fully the grungy anti-establishment set full of graffiti and feeling of squalor. Indeed, over the course of the preceding weeks, students had been attending the auditorium over their lunch breaks to “tag” the auditorium wall with their own biblically-inspired and yet modern takes on belief and empowerment. Ancient populism brought forward through spray paint and creative angst. Brilliant.

The bulk of the heavy-lifting fell to the roles of Jesus, Judas, Mary Magdalene, Caiaphas and Annas played respectively by Ollie Côte, Vasiliauskas, Amy-Lynn Moffitt, Laura Graham and Ruby Maloney. They accounted for contributions to all but three of the 23 songs over the two acts making up the show.

Côte delivered a singing version of a soft-spoken person, Jesus’ gender not really coming into play in this production. They offered a depth to the character, generally and universally caged in a known theological framework, that suggested a vulnerability which, ironically, made Jesus more human. The result brought contextual understanding into question affording creative space for the rest of the story being told via Côte and the entire cast.

For her part, Vasiliauskas tackled the very complex and conflicted person that is Judas, complete with some of the most difficult musical numbers possible, and delivered. Her death scene of Judas writhing on stage in the throes of poison were extraordinary and worthy of the vigorous applause which ensued.

Moffitt brought Mary to life. Right there on stage. Her talents were on display from voice to guitar to inspiration for her fellow actors. A gifted singer, Moffitt accented the first act with Mary’s tender support of Jesus and her performance established the calm tenor against which the backdrop of chaos played out. It is a shame that the second act did not see more of her.

For their parts, Graham and Maloney were a dark and expressionless joy. From the get-go, they were Biblical “Agent Smiths”, taken from the popular film series “The Matrix”, sporting black attire with dark sunglasses. Each time they had the parol, they slowed the tempo while stoking the mob – once again bringing contemporary culture into an age-old tale. Their delivery of the title line was soft and yet striking.

Rounding out the primaries for the cast were Isaac Graham as Pilate, Grace Kelly as King Herod, Allie Benoit as Peter, Callum Maloney as Simon, Ethan Paulin as The Old Man and Faith Hamilton as The Maid by the Fire.

Graham offered a wonderful version of the Roman governor growling with conflict and directing that empathy-turned-to-anger toward Côte’s Jesus in an all-out vocal food fight. It was delightful.

The role of King Herod in the musical as a whole has historically been one that borders on camp. Kelly’s court of red-feathered friends brought Herod down a notch in keeping with the overall tone being crafted by Holmes and Paquette and her subdued performance struck that home fully, never touching what could easily have become tawdry.

The balance of the ensemble cast filled both the stage and the air with a lively and robust enthusiasm that acted as counterpoint to the overall mood of doom being constructed. The choreography of movement was captivating, from group circle-hugs to mob-driven frenzy to microphone-wielding and modern reporters. Entertaining seems inadequate as a rejoinder.

The baseline music was piped in and all cast members provided original vocals, with the exception of several of Moffitt’s numbers where she confidently, and yet modestly, strummed her guitar in accompaniment.

Fans of the musical will have loved the performance as being wonderfully realized and those unfamiliar with it, will have become fans.

Exactly what theatre is supposed to do.

See link for video: https://theequity.ca/jesus-chris-superstar-phs-2023/

Ollie Côte delivered as title character in Jesus Christ Superstar.

Register or subscribe to read this content

Thanks for stopping by! This article is available to readers who have created a free account or who subscribe to The Equity.

When you register for free with your email, you get access to a limited number of stories at no cost. Subscribers enjoy unlimited access to everything we publish—and directly support quality local journalism here in the Pontiac.

Register or Subscribe Today!