Nocturne Theatre’s Jesus Christ Superstar has not only reinvigorated this classic Andrew Lloyd Webber musical with their astounding production work and talent but through conscious & well thought-out casting decisions, has given it urgent relevancy in the world we live today.

The Nocturne Theatre’s 2026 production of Jesus Christ Superstar presents the seminal rock opera by Andrew Lloyd Webber and Tim Rice with a visceral, immersive experience that reverberates with contemporary social relevance. The production highlights the story’s enduring examination of power, protest, and moral ambiguity — inviting audiences to see echoes of modern struggles for justice and identity in the fractured relationships between Jesus, Judas, and their followers. Visually, this staging transcends traditional biblical iconography, embracing psychedelic dystopian aesthetics that blend stark, surreal lighting, and industrial-infused set design to conjure a world both futuristic and eerily familiar — a society on edge where devotion, disillusionment, and control collide. Amid these shifting landscapes, the intimate theatre-in-the-round puts you at the center of the theatrical maelstrom, intensifying the emotional and symbolic impact of every scene. Anchoring the spectacle is a live band that drives the score’s electrifying rock rhythms and raw energy, making the music itself a character in the drama. From incendiary anthems like “Superstar” to the poignant lament of “Gethsemane,” the band’s presence bridges the gap between orchestral theatre and rock concert, immersing audiences in a primal, sensory-rich celebration of sound and story.

It’s safe to say that Jesus Christ Superstar is my favorite musical of all time. I’ve seen numerous productions of it throughout the years and have obsessed over which Jesus actor can sing “Gethsemane (I Only Want To Say)” the best on YouTube. I’ve also dreamed of seeing a production where a Brown man plays the titular role as opposed to the countless white actors who have taken on the part. When I heard that Nocturne Theatre had cast an actor of Latino descent for their production, I took immediate notice but also took great pause because at first glance, the theatre company looked to be that of community theatre with amateurish production values and it didn’t help that it being a non-union theatre company, there are no Equity contracts to allow union theatre actors to take part.

Boy, was I wrong. Oh so terribly, terribly wrong. Not only did the production look and sound terrific (with their sound system and four-person orchestra that sounded better than more “prestigious” productions I’ve seen) but the ensemble cast was comprised of actors I have never seen before. One of the unfortunate downside of watching so much theatre is that you start seeing the same actors over and over again, especially if the theatre company is members-priority or if theatre companies lock onto specific global majority actors for all their productions. So when you watch a play/musical that has people you have yet to grace the stage, there is a profound and exhilarant joy to be had when they exceed your expectations. Before I go on, kudos to director Justin Meyer and the entire crew & cast for blowing my mind (and bias) away.

There wasn’t a single weak link in talent for the ensemble cast but Diego Huerta-Gutierrez and Auriaa transcended the heavens with their voices and their acting talent as Jesus and Simon respectively. Andy Meyers delivered a most compelling and tortured Judas, Chess MacElvaine soothed like calm water as Mary, Andrew Diego commandeered the stage as the menacing Caiaphas (with a Spaceballs-esque sized hat that somehow worked), Troy Bailey made us ache with compassion for an authority figure that deserves none as Pontius Pilate, and Nathanael O’Neal gave the most hilarious King Herod performance I’ve ever seen with truly impressive singing chops in a role notoriously known for having the worst singers imaginable.

The Mad Max/Tron/’70s era Star Wars costume design by Tanya Cyr was at first bewildering to witness but instantly grew on me as it complemented the psychedelic 1970s soundtrack and had more imagination in its concept that many productions of this musical in the past where they often rely on lazy hipster clothing, biblical period clothing, or an unimaginative combo of the two. This chaotic nature, for better or worse, imbued itself into the arena stage where choreography somehow managed to happen in a space that was a bit too tight to accommodate for 17 actors. During these moments, group choreography would sometimes suffer but when it came to individual spotlights, the dancers would shine with some gorgeous work by Sam Tilley, Robbie Canevari, Patrick Fitzsimmons, Juliet Johnson, Trinity Pedagat, and Danny Castro.

Like most materials written by men, the women roles leave much to be desired in terms of significance and agency and while Chess MacElvaine makes the most of it with their beautiful depiction of Mary, the role is pretty much relegated to being the source of comfort and yearning. Cynthia Erivo was on the right track of playing the titular role herself in last year’s Hollywood Bowl production but it deserves to be mentioned that Auriaa‘s depiction of Simon is perhaps the best rendition I’ve ever seen of this traditionally male role. The same applies for Renee Cohen who gave a deliciously despicable performance as Annas and only makes me hope that plays & musicals like these can continue exploring gender fluidity in roles that are traditionally given to men.

If you’re not a fan of musicals, it will perhaps be groan-worthy that there isn’t a spoken line of dialogue but instead 24 songs that come right after one another. Usually, I would also be critical of such musicals but somehow, this musical continues to hold a soft spot as I find it simply too endearing in terms of how much I enjoy the lyrics by Tim Rice and the groovy music. I mentioned this before, but the small four-person band composed of Chris Wade, Eddie Barco, Lowell Wolfe, and Audrey Bean somehow filled the entire arena stage with their sound.

This is my first time watching a musical at Nocturne Theatre and after this spectacular production, I eagerly look forward to more in the future. Jesus Christ Superstar opened on March 13 and will run until April 26 at the Nocturne Theatre in Glendale (324 N Orange St, Glendale, CA). Tickets are  $44.50-$73.50, with booking fee and can be bought here.