Ever wondered what a more modern-day version of Jesus might look like? Do you think you would be on Jesus’s side of history? The hit rock opera musical “Jesus Christ Superstar” sets out to answer these very questions. Created by Andrew Lloyd Webber and Tim Rice, the musical follows Jesus in his final days of life, told through the modern lens of rock music. Viewers follow Jesus and his disciples through storylines drawn from the bible, from witnessing Jesus’s resurrection to Judas’s betrayal and the ultimate crucifixion of Jesus.
This production of “Jesus Christ Superstar” was co-sponsored by the Harvard-Radcliffe Dramatic Club and Black C.A.S.T. The show was set in 1970s Oakland, Calif., a shift from the show’s original location in Jerusalem. Director Hannah Alexis ’27 gave many characters originally from Judea a 1970s Californian equivalent. “On our version, it’s like we have Jesus, who’s being played by a black woman that’s representative of Angela Davis in 1972,” said Alexis in an interview with the Independent. This reimagining continues with other casting changes— former California Governor and U.S. President Ronald Reagan is reinterpreted as the Roman King Herod, played by Justice Sirotek ’27.
The deviation from the original show helps clarify its message, in Alexis’s opinion. “We are taking quite a few liberties in this shift… In that way, I think it is helpful to understand the time period from which [the play was written], and it’s helping to clarify a bit more, in my opinion.” This production is set in 1973, the year the show was originally written. As a result, many of the themes explored in the performance reflect the social and political issues that inspired its creation.
The set was designed to emulate the urban architecture of Oakland. The show used a relatively simple set design technique, with most set pieces remaining stationary and unchanged throughout the scenes. Among the many elements that went into creating the show, costume design stood out. Costume Designer Amina Salahou ’25 explained that she used costumes to express each character’s personality, especially in cases where their traits might not be immediately clear through dialogue or action alone.
“People could watch this, and even [if] they didn’t really understand exactly what was going on or didn’t exactly understand the story, you can kind of see each character’s personality through what they were wearing,” Salahou said.
Despite a few technical hiccups from the speakers, the vocal performance did not disappoint. Kiesse Nanor ’26 played Jesus, and Cybèle Fasquelle ’25 played Judas. Both showed off their pipes throughout the show, with Nanor having a standout in “Gethsemane” and Fasquelle performing an amazing opening rendition of “Heaven on Their Minds.” The ensemble’s “What’s the Buzz” performance left me buzzing; I still can’t get the song out of my head.
The show presents the story of the final days of Jesus’s life. Jesus performed miracles witnessed by his disciples. Word of Jesus spread, and soon the government (in this case, Ronald Reagan and the police force) became weary of the message spreading among the people. They set out to make an example and kill (or rather, arrest, in this interpretation) Jesus. Despite the religious origins, Alexis doesn’t prioritize Christian retelling. “We’re not putting crosses on everything when we know it’s not quite going to be Jesus the Christ,” she says. “We have a different conversation to be had that isn’t just strictly religious.”
Fasquelle concurred with the director’s changes to the show. “If you are a fan of Jesus, if you’re not a fan of Jesus, this is the show to come see,” Fasquelle shared.
Although Alexis’s vision for the show heavily shaped the final product, she believes it could not have happened without the cast. “I think I’m just very grateful to my cast, especially for their openness in telling the story in this way,” she said.
Alexis also pointed out the importance of the show for the Black C.A.S.T. affinity group. “It’s the first time Black C.A.S.T. as a solo organization has had the mainstage in like 15 years,” she added.
While a central theme in this show is black oppression by the police force, Alexis designed the show to be multi-thematic. “I’m very proud that it’s not as simple as just racial dynamics. It is also gender; it is also economic standing. It is also that all of those things have an impact,” she explained.
One example of this she used was the Black Panther Party member who represents Peter, played by Joshua Eneji ’28.
“Peter denied Jesus three times, and he is very explicitly representing the men of the Black Panther Party, which was a very patriarchal organization, despite it being an activist-like group,” Alexis said. “I love reading about the Black Panthers and all the work they did in their community organizing. However, it was a different story to understand how they treated women within the organization, which was not just as simple as verbally excluding people. Still, it was also to the point of violence in some cases.”
Ultimately, Alexis wanted spectators to enjoy viewing this show, but she also took away a message from it. “I think that theater should make you feel. I think theater should make you think… Maria Irene Fornese [once said], ‘Life is theater; Theater is life.’ It is actively happening,” she said.
“You are not a bystander in this life. You are always actively in the narrative, whether or not you feel so, there is always actively something you do or can do that affects something,” she said.
This show left me questioning what side of history I am on. As a Christian, if another reincarnation of Jesus appeared tomorrow, would I recognize and support him—or would I stand on the sidelines? Am I genuinely living out the values of compassion and justice that the Messiah would call me to uphold? Would I see Jesus as a superstar?
Kalvin Frank ’28 (kfrank@college.harvard.edu) thoroughly enjoyed JCS.