Theater Review: 'Jesus Christ Superstar' at The Arts at Angeloria's

Theater Review written by guest reviewer Rafael Feliciano-Roman, who was invited to attend the final dress rehearsal of the show by the production team

Hello! Hola World, my name is Rafael Feliciano-Roman. It is with great honor that I begin this new chapter as a theater critic and reviewer. I take this role seriously—and with that responsibility, I strongly urge you: run, don’t walk, to see "Jesus Christ Superstar" at The Arts at Angeloria’s, opening this Saturday!

From the moment you step onto the grounds, you’re transported. The Arts at Angeloria’s is more than a venue—it’s an experience. The history, hospitality, and curated atmosphere, brought to life by visionary Show Director and Artistic/Executive Director Lori Holm, feel like something conjured from a storybook. Nods to Harry Potter enchant the space, transforming this hidden gem in Southington into a magical sanctuary for the arts. The warmth and welcome offered by Stacey Burwell and the entire staff heighten the charm. Doors open one hour prior to showtime—bring a picnic basket and wine, and soak in the ambiance of this turn-of-the-century Victorian haven.

The show itself is an ambitious, dystopian reimagining of the classic rock opera. We are thrust into a chilling future—Earth, the year 2225, after World War III. The set, featuring the remnants of a derelict NASA shuttle with the haunting “AEterna” insignia, immediately establishes a post-apocalyptic world. The design makes clever use of every inch of the Art Barn, immersing the audience in a decaying yet vividly imagined universe. However, the pre-show exposition felt overly long, and unless you read the digital program, key details about the storyline’s context might be missed. While the mix of futuristic world-building and present-day references (like nods to 2025 pop culture) added humor and relevance, they occasionally distracted from the powerful story at the heart of Jesus Christ Superstar. With some refinement, these layers of storytelling could come together more cohesively.

Where the show truly shines is in its technical mastery. Tim Nivison’s lighting and scenic design is, without exaggeration, award-worthy. The lashing of Jesus, depicted through rhythmic pulses of light, was intense and effective, while the moment where Jesus’s soul leaves his body—represented with a glowing red heart and radiant effects—was emotionally transcendent. These moments pushed the production into a league of its own.

The performances were another highlight, with several cast members delivering unforgettable interpretations. Kiersten Bjork’s Judas was captivating—gritty, emotionally torn, and vocally powerful. Tom Olivera’s Jesus offered a mesmerizing blend of futuristic mystique and rockstar charisma. His vocal range, which evoked the spirit of David Bowie, brought the character to life in a way that was both fresh and familiar. His performance alone is worth the price of admission.

Other standout performances included Kevin Pekley’s chilling and commanding Pontius Pilate, whose presence sent shivers down my spine. Diana Bruenn brought sass, sophistication, and dramatic flair to Herod, commanding the stage with ease. Robert Wiener, as Peter, provided one of the evening’s most moving vocal moments, especially in his duet with Jen Colella’s tender and grounded portrayal of Mary Magdalene. Their chemistry was palpable, and their harmonies, exquisite.

The Aeterna Enforcers ensemble had moments of struggle early on—Chris Bushey appeared slightly off tempo at times, though he managed to recover—but they ultimately found their stride in Act II. Among them, Dylan Ryan stood out with his strong vocals and sharp acting. Once the group settled into rhythm, their energy helped elevate the later scenes.

Perhaps the most impressive element of the production was the ensemble itself. Fluid and flexible, they transitioned in and out of featured roles with ease, becoming the glue that held the entire show together. Eric Chubet, Angela Jackson, Rachel Glander, Nancy Sasso Janis, and especially Robert Wiener and Lucy Bushey brought depth and commitment to every scene. One of the most touching moments of the evening came when Lucy Bushey, in a quiet gesture of grief and reverence, laid flowers on Jesus’s body and gently placed his head on a pillow—a beautiful, heartbreaking close to the production.

Large-scale numbers like “What’s the Buzz,” “The Temple,” and “Superstar” brought the house down. These showstoppers exemplified the synergy between cast, direction, and design—and when the ensemble and principal characters shared the stage, the show reached its fullest emotional and theatrical potential.

In all, I give "Jesus Christ Superstar" at The Arts at Angeloria’s a solid 4 out of 5 stars. The ingenuity and bold reimagining of this classic rock opera make it a must-see. With its immersive setting, inventive direction, and standout performances, the overall experience is one not to be missed. I’ll definitely be back—ready to sing, sway, and celebrate—on closing weekend.

"Jesus Christ Superstar" opens Saturday, June 7, 2025, and runs through June 22, 2025. For tickets, visit: www.theartsatangelorias.com

All final dress rehearsal photos by Rafael Feliciano-Roman

Rafael Feliciano-Roman is the founder of the Afro-Caribbean Cultural Center and Pa’lante Theater Company. He has directed several award-winning productions that center Afro-Caribbean, Black and Latine narratives. A cultural organizer and visionary, Rafael now brings his passion for the arts to his role as a theater critic and reviewer.