Fans of the Andrew Lloyd Weber and Tim Rice rock opera know that Jesus Christ may be the superstar, but the show belongs to Judas.

This holds true in the new production of “Jesus Christ Superstar” at Roxy’s. It runs Thursdays-Saturdays through April 25.

As Judas, Julia Faust is full of rock poses and vocal power, with a breathy growl in her low range and a wailing attack in the high register. From the beginning, she surveys the rest of the chorus with a dark glare, and the way she dismissively tosses a jar of ointment to Mary Magdalene says everything about her assessment of the situation facing the disciples and the fickle crowd cheering them on. 

Simon Hill, director and music director for “Superstar,” does not seem to be making a statement in cross-casting Faust in a typically male role. Faust’s gender is not a factor in her pragmatic commitment to a tragic cause. Her belief in the correct path is fully present and drives all her decisions, starting with “Heaven on Their Minds.”

The script does not give Sam Warner as Jesus much runway to sink into the emotions that drive his character. In just two songs, he has to travel internally from enjoying a moment of triumph to bewilderment and weariness. Without that journey, Mary Magdalene’s intervention in “Everything’s Alright,” though gorgeously sung by Shannon McMillan, doesn’t feel earned.

Fortunately, spurred by the always reliable Kyle Vespestad’s haunting “Pilate’s Dream,” the show and Warner’s Jesus get in sync with one another. His fiery outburst in “The Temple” followed by his full embodiment of Christ’s exhaustion begin to signal where this story is going — and how sad it is. By the moment in Act II, when Warner’s voice breaks as he shares “I’ve tried for three years, seems like ninety,” the audience is mourning with and for this tired young man.

Hill’s direction highlights the parallels between Judas and Jesus in key moments: an early visual reveal, each character snatching a cloth from a table of surprised people, solitary arguments each has with God. Interestingly, Hill and costume designer Seferino Ramirez, Jr., give Judas a sparkly end-of-show return. Jesus stays in the costume of his suffering to the end.

In a musical more than 50 years old, there are a few songs that come with pressure to live up to familiar versions. McMillan beautifully interprets “I Don’t Know How to Love Him.” She plays with rhythms as she demonstrates confusion, amusement, and fear. Ben McDaniel’s mincing mirth collapses into menace as he leads “King Herod’s Song.” McMillan and Ian Demory as Peter lean into one another and the despondent harmonies of “Could We Start Again Please.”

Despite solid singing from Ethan Manlove as Annas, songs by the council of priests are uneven. In particular, “This Jesus Must Die” sounds as though performers are being pushed into uncomfortable octaves.

For a rock opera, sound engineering and the band have to complement one another and fit the space. The theater's proven use of a raised pit again works in “Superstar.” Guitar is particularly prominent in this show, and Alex Nordine’s tone captures the fuzzy 1971-ness of the score’s time while incorporating more contemporary sounds. Nordine’s bandmates are the versatile Joy Lenau on keyboards and the solid rhythm section of percussionist Lukas Weber and bassist Randy Fields.

Jason Huffman’s sound design keeps the band present and the vocals prominent. Huffman and Hill use offstage singing to great effect in several places, including in “Damned For All Time” and “Could We Start Again Please.” Speakers around the venue implicate the audience in the action, especially the shouts of “Crucify him!” during the “Trial Before Pilate.” There are still some sound tweaks to be made to address moments of distortion and mics that move slower than actors.

Huffman is also responsible for scene design. He has crafted an open space that evokes a little church pageant and a little passion play. A wall constructed in real time is decorated in a way that might represent an Orthodox icon or a shroud. It is a captivating detail. The set comes alive at one point, closing in on a trapped Jesus.

Additional cast members include Joshua Kelley, Duane Ellis-Jackson, Mark Shobe, Jeff Rosales, Gabby Miller, Kennedy Staiger, London Holliday, Sisilia Shaffer, and Brenna Welch. In his pre-show introduction, Rick Bumgardner, producing creative director, points out that “Jesus Christ Superstar” brought several new faces into the Roxy’s fold. In this instance, new talent and an old favorite are a winning formula.

The Details

Roxy’s Downtown presents “Jesus Christ Superstar”
March 20-April 25, 2026 at Roxy’s, 412 1/2 E. Douglas Ave. in Wichita

Performances take place at 7:30 p.m. Thursday-Saturday and 2 p.m. Sundays. Doors open an hour before showtime, and the theater requests all patrons arrive at least 15 minutes early.

Roxy’s is a second-floor venue. An elevator and accessible facilities are available.

Reserved tickets are $42. Learn more and buy tickets online, or call the box office at 316-265-4400.

Seth Bate’s book “Winfield’s Walnut Valley Festival” was named a 2023 Kansas Notable Book. In a previous century, Bate was a National Critics Institute fellow at the Eugene O’Neill Theater Center. He loves Muppets, Twisted Sister, & kitschy musicals.

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