‘Jesus Christ Superstar’ electrifies Manila

MANILA, Philippines — Following acclaimed and sold-out runs in London and an extensive international tour across North America, the UK, and Australia, the Olivier Award-winning revival of “Jesus Christ Superstar” arrived in Manila for a limited engagement at The Theatre at Solaire. It runs until May 24.

Produced locally by GMG Productions, headed by Sam Sewell, the production proves that the groundbreaking rock opera created by Andrew Lloyd Webber and Tim Rice remains as electrifying and emotionally resonant today as when it first premiered more than 50 years ago.

Originally released as a concept album in 1970 before opening on Broadway in 1971, “Jesus Christ Superstar” transformed musical theater by presenting the final days of Jesus Christ through the perspective of Judas Iscariot and by telling the entire story through a contemporary rock score. Songs such as Superstar, I Don’t Know How to Love Him and Gethsemane have since become iconic staples of the genre.

Gab Pangilinan as Mary Magdalene.

The touring production originated at London’s Regent’s Park Open Air Theatre and is directed by Timothy Sheader with choreography by Drew McOnie. Instead of a traditional Biblical spectacle, the staging embraces a rock-concert concept in which performers carry handheld microphones and pass them between characters as the drama unfolds.

Javon King as Judas and Grant Hodges as Caiaphas.

The set resembles a gritty urban back alley, complete with metal staircases and an elevated second level that allows for fluid movement and striking stage pictures.

Costuming further distinguishes the opposing worlds within the narrative: Jesus and his followers appear in earthy tones, while darker hues emphasize the ominous presence of antagonistic figures such as Caiaphas and Pontius Pilate.

The author attends the opening night.

Central to the production’s storytelling is the lens of Judas, which frames Jesus not only as a spiritual leader but also as a human being struggling under the immense weight of expectation. On the evening I attended, Jesus was portrayed by cover Joshua Bess, whose performance conveyed a moving vulnerability, particularly in the emotionally demanding Gethsemane. Opposite him, Javon King delivered a commanding Judas, providing the dramatic and vocal intensity that anchors the production.

Strong supporting performances came from Grant Hodges as Caiaphas and Ethan Hardy Benson as Pontius Pilate, both of whom projected authority and vocal power. Kodiak Thompson as Annas added a compelling presence within the political tension that drives the narrative.

A personal highlight was seeing Gab Pangilinan as Mary Magdalene. Her performance balanced youthful sincerity with assured emotional depth, particularly in her interpretation of I Don’t Know How to Love Him. Having first taught her when she was around 11 years old at Trumpets Playshop, it was especially gratifying to witness her command the stage in a major international production. Even then it was clear she had something special, and her performance here confirms that she continues to grow into an artist ready for even greater opportunities.

Musically, the production stays largely faithful to the structure and arrangements of the original score. Having grown up listening to the ‘70s vinyl recording, I appreciated that the musical framework remains recognizable and respectful of the material’s legacy.

If there is one aspect that could have been pushed further, it might be the sound mix. Given the show’s rock-concert framing, a heavier and more aggressive sound might have heightened the visceral energy of the performance. At times, the audio felt slightly balanced and compressed rather than fully unleashed. Nevertheless, the extraordinary vocal talent of the cast remained undeniable throughout.

One of the most poignant moments arrives during the crucifixion. Instead of presenting the scene directly, Jesus appears in a stark backlit silhouette, barely visible against the light. The image almost shrouds him in darkness, allowing the audience to feel the emotional gravity of the moment without explicit depiction. It is a restrained but powerful staging choice that underscores the agony and sacrifice central to the story.

More than five decades after its debut, “Jesus Christ Superstar” continues to captivate audiences with its daring fusion of rock music and theatrical storytelling. The Manila engagement demonstrates why the musical remains a global phenomenon, resonating across generations with its timeless themes and unforgettable score.