For over 50 years, “Jesus Christ Superstar” has dazzled and intrigued many audiences. With countless productions worldwide, the musical now makes its way onto the Broadway at Music Circus stage here in Sacramento at the UC Davis Health Pavilion on March 13, and it will continue to run until March 22.
The classic rock opera by Andrew Lloyd Webber and Tim Rice chronicles the events leading up to the crucifixion of Jesus Christ (Justin Sargent), and it has been a theatre classic ever since its 1971 Broadway debut. This production is the musical’s fifth time on the Broadway at Music Circus stage since its first appearance in Sacramento in 1975.
This 2026 production, directed by Glenn Casale, is an admirable adaptation of a notoriously hard show. The show demands a lot of its performers in both acting and singing, asking them to carry the heightened emotions and dramatic peaks of the songs and themes.
The cast performed the material beautifully, with the ensemble often combining to make a unified vocal tone that matched what was asked of them for each scene, like when they sing the praises of Christ in songs like “Hosanna,” where the voices all combine into a soaring church-choir sound. Then, in one of the next songs, “The Temple,” the theatre grows eerie and dark as the cast plays a mob of desperate followers.
Actors Jay Copeland and Maelyn Jarmon were a wonderful inclusion in the production. Copeland, who played apostle Peter, and Jarmon, who played Mary Magdalene, both sounded great. Adding some nice depth to the smaller side characters of the show.
Among this talented cast is Kyle Taylor Parker, who plays Judas Iscariot, and Justin Sargent, who plays Jesus of Nazareth. Both actors are responsible for carrying the show’s energy, and each does an amazing job, displaying incredible vocal talent and delivering different types of belts and rock riffs that help push each song they feature.
Sargent delivered some truly spectacular vocal moments. His voice is rich and appropriately rough for material soaked in ‘70s rock. Christ’s biggest number in the show, “Gethsemane,” is a marathon to sing, and it acted as both Sargent’s biggest display of skill and also his biggest hurdle. The song’s tempo is constantly in flux between lengthy lyrics, fast-patter moments, and multiple long belts throughout its six-minute run. Sargent delivers a worthwhile version of the song, with his vocals filling the room with dramatic tension and energy.
Parker, on the other hand, knows when to hold back his voice or to let out a skillful riff or belt depending on what a song needs in any given moment. In the song “The Temple,” where Judas is hiding the fact that he will betray Christ, Parker is able to keep his voice large and impactful while showcasing a sense of emotional restraint, perfectly conveying his struggle to keep his emotions together in this stressful moment.
Sometimes, Sargent’s great vocals came at the risk of his acting. There were moments where a more straightforward vocal approach would have been better for the overall emotion of a song, leading some moments to fall a bit flat. By the time the show reaches its bigger numbers, some of the luster is gone.
These moments asked for a more actorly appearance, to make a display of Christ’s internal conflict with his destiny. It’s not just the singing that has to build up; the acting has to build as well. Sargent sings as if he were conflicted, but his vocal tone never conveyed that, diminishing the song’s dramatic impact.
Yet, Parker sometimes holds back just a little too much, focusing more on maintaining his vocal quality over the song. Causing his overall performance to feel uneven on a number of the faster-paced songs, where the text would be asking for more vocal risks than acting.
The show’s last, most famous song is “Superstar,” and it’s a big, flashy closer that carries the show on the energy of Judas. Parker sings it beautifully but risks losing energetic playfulness.
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Neither actor gave a terrible performance; overall, they were both amazing when it came to their vocal talent. These are hard songs to sing, and most of the time both rose to the challenge of each note.
The set design was serviceable for what it wanted to do. Music Circus is a round theater, meaning it is set up more like a sports arena, with the stage in the center and the seats surrounding it. This setup allows shows to feel more immersive and larger than on a standard stage.
This production has an industrial look, with metal, rusty staircases, and scaffolding to represent B.C.- era Jerusalem. It is minimal but pleasant enough for the style.
The real magic of the stage was the use of space, as essential members could be up on the scaffolding and hanging off the stair railings. Actors can even be seen walking on the main stage’s rotating floor. The production team knew how to use the large area around it to deliver an immersive experience.
However, there is a natural problem with round theaters: sometimes an actor’s back will be turned to at least one part of the audience. But that is not a problem this show can solve.
“Jesus Christ Superstar,” at its core, is meant to be a spectacle: largely dramatic and entertaining, where the audience has no choice but to embrace it. While there are a few moments that could be stepped up, this is a valiant showcase of this classic musical.
Tickets can be bought in person at the UC Davis Health Pavilion box office or online at the Broadway Sacramento website. The show will have its finale showing on March 22.