Rising Star Project recently produced a weekend run of the classic rock opera Jesus Christ Superstar at The 5th Avenue Theatre in downtown Seattle.

The organization is the venue’s tuition-free youth program for aspiring theatremakers ages 14–19, offering opportunities to work alongside experienced professionals across a range of theatrical disciplines.

Composed by Andrew Lloyd Webber with lyrics by Tim Rice, Jesus Christ Superstar chronicles the final days of Jesus Christ before his crucifixion, told from the perspective of Judas Iscariot. Initially released as a 1970 concept album, it made its Broadway premiere the following year, helping establish the sung-through rock musical as a commercially viable form.

At the top of the show, a towering banner featuring the profile of a Roman soldier conceals much of the stage, bearing the inscription “ROMASPECTAT,” a Latin phrase that translates to “Rome is watching.”

As the overture begins, Jesus’s followers are on the run; some are captured, while others narrowly escape. Clad in black uniforms and matching masks, the soldiers evoke images of modern-day ICE agents. Danielle Nieves, along with her student collaborators—Adelyn Anderson, Chau Nguyen, Ashlyn Templin, and Izzy Urbano—created the production’s bold costume designs.

Though the staging remains faithful to the original libretto, it exercises artistic license in its casting.

When Judas steps forward to sing “Heaven on Their Minds,” the character is embodied by Eliana Green, a formidable vocalist, in a marked departure from traditional casting conventions. The production’s reimagining of a historically male role is not without precedent in Seattle theatre; in 1995, Amy Ray—one half of the Indigo Girls—portrayed Jesus in Jesus Christ Superstar: A Resurrection at the Moore Theatre.

Green cuts a magnetic figure as the doomed apostle, sporting a distinctively dystopian hairstyle, a look designed by Jason Goldsberry in collaboration with students Kylie Doohan-Mitchell and Samantha McIntosh.

Not unlike The Phantom of the Opera and Aspects of Love, Lloyd Webber’s score is notoriously demanding for its principal vocalists, yet Green meets the challenge head-on, commanding the role of the conflicted antagonist with soaring vocals from start to finish.

While camped out, the followers perform “What’s the Buzz,” expressing excitement and anticipation about entering Jerusalem. Jesus urges them to be patient as he responds to Mary Magdalene, played by Ava McCallem.

Judas functions like a PR strategist, scrutinizing the optics of a client’s public image. She quickly identifies inconsistencies and fault lines in Jesus’s persona, arguing that his closeness to Mary Magdalene is not a good look for his divine brand.

McCallem embraces her role with softness, grace, and aplomb. “Everything’s Alright” introduces the audience to her character’s warmth, setting her budding relationship with Jesus apart from that of the disciples.

Upon its 1971 debut, Jesus Christ Superstar drew criticism from segments of the Christian community for its portrayal of a humanized Jesus—one who experiences doubt, fear, and a close companionship with Mary Magdalene. His time spent with her is not necessarily out of character; biblical accounts depict Jesus dining with “tax collectors and other sinners.” However, Judas neither understands nor seems able to reconcile this behavior, and appears increasingly embarrassed, as the gulf between them continues to widen.

In “Simon Zealotes” in Act I, the production showcases its ensemble choreography to dynamic effect. Director Katie J. Newbury, also credited as choreographer alongside mentee Vivi Thomas, captures the purity, joy, and symbolism of the rousing number. Simon (Spencer Norman) meets its spirited choreography and high-energy vocal lines with assured control and stamina.

During the power ballad “I Don’t Know How to Love Him,” McCallem’s vocal delivery was unexpectedly nuanced, complemented by a deeply grounded acting performance.

In the title role, Isaiah Hyde’s “cursive singing”—a technique characterized by light, fluid phrasing with subtle, intricate R&B runs and riffs—provided a compelling contrast to Green’s high-octane vocals.

Before the end of Act I, Judas surreptitiously meets with the high priests Caiaphas (Nathan Daymond) and Annas (Renda Tuffaha), trading the whereabouts of her messiah for thirty pieces of silver. The tension and tragedy of this scene are heightened by Robert J. Aguilar’s textured lighting design.

At the opening of Act II, as the lights come up, performers bring bags and pizza boxes onto the stage, and it soon becomes apparent that “The Last Supper” has been reframed as a DoorDash-style food delivery. Though a small detail in the adaptation, the moment underscores Newbury and student Kevin Daniel’s incisive direction.

“Jesus Christ Superstar” departs from a traditional Passion narrative. Jesus performs no miracles and there is no resurrection. Instead, he confronts the inevitability of the crucifixion and pleads with God to alter his fate. “Gethsemane” becomes a portrait of a profound psychological and emotional crisis, realized by Hyde with searing intensity.

In the brief scene in which Peter (Harrison Ng) denies Jesus three times, Ng made an impression with vocals that were both memorable and beautifully rendered.

The production continues its rebalancing of traditionally male roles with Pontius Pilate, played by Madeline Cashman. Her glamorous portrayal recalls iconic cinematic villains such as Maleficent and the Evil Queen from Snow White. Pilate ultimately deflects responsibility, dismissing Jesus and sending him to King Herod, played by Marcie Freund.

If the musical is dark by nature, Herod often provides a moment of levity before the impending death of the King of the Jews. Seated on a throne like a spoiled, easily bored monarch, Herod delights in the chance to see Jesus turn water into wine and “walk across [his] swimming pool.” Jesus, however, is downtrodden and sits silently on the floor awaiting judgment.

Soon Jesus is back at Pilate’s feet, with crowds demanding his crucifixion. Pilate is bewildered by the sudden shift in public sentiment; not long ago, Jesus was the object of public adoration. Showing sympathy for the condemned man, she appears to offer him a script that might save his life. With tragic vulnerability, Jesus does not budge.

Christ is ultimately led away, and what follows is a confoundingly cool—if not downright thrilling—Vegas-inspired finale, with a bedazzled Judas joined by three Soul Singers (Ana Sofia Cabrera Castro, Sariah Ling, and Isla O’Connor-Lu) channeling The Supremes as the iconic score reaches its conclusion.