Review by Chris Heide
Ensemble cast of Jesus Christ Superstar at the 5th Avenue Theatre (Photo Credit: Michael B. Maine)
Seattle has always had a complicated relationship with rock music. We worship authenticity here. We can smell overproduced performances from a mile away. That’s exactly why the current production of The 5th Avenue Theatre’s Jesus Christ Superstar works so incredibly well. This ambitious, modernized interpretation doesn’t feel like a touring Broadway replica dropped into Seattle. It feels born here. Sweaty, electric, artistic, slightly gritty, vocally fearless, and deeply tied to the city’s music culture.
From the second the house lights dim, the production establishes itself as something fresh. The costuming has a distinctly Seattle feel, blending rock concert aesthetics with contemporary streetwear in a way that somehow feels both grounded and theatrical. The choreography is one of the production’s greatest triumphs. It is inventive, aggressive, fluid, and constantly in motion, utilizing nearly every inch of the stage with remarkable precision. There are moments where the ensemble moves like a single organism, transforming the massive stage into something intimate and volatile. The movement language never feels repetitive. It evolves with the emotional tension of the show, which is no easy feat in a musical this physically demanding.
Alexander Kilian as Jesus delivers the kind of performance that reminds you why this role has become legendary in musical theatre history. His vocals are genuinely stunning. Controlled, emotional, and technically impressive without ever losing humanity. Kilian manages to balance the rock tenor demands of the score with emotional vulnerability, making Jesus feel less untouchable prophet and more exhausted human being collapsing under impossible expectations. His performance feels star-making, and frankly, Seattle may be watching the rise of a theatre legend in real time.
Molly Sides as Mary Magdalene is another major success of the production. The fact that the co-founder and vocalist of iconic Seattle band Thunderpussy stepped into this role makes so much sense once she begins singing. Sides brings an earthy, emotionally grounded quality to Mary that keeps the character from becoming overly polished or sentimental. Her vocals have grit, warmth, and soul, perfectly fitting the rock opera DNA of the piece. She feels entirely authentic within this world, and her chemistry with Kilian gives the show many of its most emotionally resonant moments.
But the real revelation of the evening, the performance people will still be talking about weeks after the curtain falls, is Aaron Alexander Gordon as Simon.
Every once in a while, a supporting actor quietly walks onstage and accidentally exposes themselves as the future lead your theatre company should already be building productions around. That is exactly what happens here.
Simon is not traditionally the role audiences leave discussing. Aaron changes that entirely.
The moment he steps into his solo, the energy in the theatre shifts. Vocally, he may be the most technically gifted performer in the entire production. His timbre is rich and unmistakably unique, his tone smooth and controlled, and his agility honestly astonishing. Aaron attacks some of the highest notes in the show with ease, but what truly separates him is his musicality. There is a deeply contemporary R&B quality woven through his performance style, and his runs, phrasing, and adlibs are executed with a confidence and precision that feel entirely effortless. Frankly, some of the vocal choices he makes are so polished they almost feel too modern for traditional musical theatre in the best possible way.
And then there’s the choreography.
Aaron doesn’t simply dance the choreography. He consumes it. Every movement feels fully embodied and intentional. Even in crowded ensemble sequences, your eye instinctively finds him because of how magnetic his physical storytelling is. He is, without question, the strongest technical dancer on the stage, but what makes that impressive is that it never comes across as performative ego. He uses movement to deepen Simon’s presence and emotional impact rather than distract from it.
More importantly, Aaron possesses the rarest quality a performer can have: undeniable star presence. The kind that cannot be taught. The kind that makes you immediately start mentally casting them in future productions before the current show has even ended. There’s a charisma to him that genuinely recalls Nick Jonas at his best: confident without arrogance, technically polished without seeming calculated, and effortlessly magnetic the second he steps into the spotlight. Aaron has that same ability to feel simultaneously commercially accessible and artistically credible, which is an incredibly difficult balance to strike onstage.
It is incredibly obvious from his command of vocals, movement, stage presence, and emotional control that this is a performer with serious professional experience across multiple mediums. Whether on television, film, or stage, Aaron carries himself like someone who fully understands how to command audience attention without forcing it. Seattle theatre has an unfortunate habit of occasionally underestimating its own homegrown talent until larger markets validate them first. The 5th Avenue Theatre should not make that mistake here. Aaron Alexander Gordon is not just a standout supporting performer. He is the kind of multidimensional talent you build original productions around. Full stop.
If The 5th is serious about continuing to cultivate exciting original work, Aaron should absolutely be leading the next major original production that comes through those doors.
Cameron Lavi-Jones as Judas is ultimately the production’s most complicated element. First, it must be said that Judas is arguably one of the most vocally punishing roles ever written for musical theatre. The entire show rests on the shoulders of the actor playing Judas, both emotionally and vocally, and simply attempting the role deserves applause. Lavi-Jones absolutely commits himself emotionally to the character, and there are moments where his rawness genuinely works in the production’s favor. His emotional journey feels authentic, conflicted, and human.
That said, opening night exposed some vocal inconsistencies that became difficult to ignore, particularly in a cast filled with otherwise exceptionally polished vocal performances. There were several noticeable missed notes, moments of pitch instability, and a few vocal cracks throughout the evening. To his credit, none of it came across as lack of talent. In fact, the opposite is true. Lavi-Jones clearly possesses natural charisma and strong artistic instincts. More than anything, it felt like the sheer emotional intensity of the role overtook the technical control required to sustain such a demanding score. Musical theatre, especially a rock opera of this scale, is an entirely different beast from most live performance environments, and opening night nerves likely amplified some of those issues.
Still, there is tremendous potential in his interpretation of Judas. When the emotion and technique aligned, the performance became incredibly compelling. It’s the kind of role that often grows stronger and more refined throughout a run, and Lavi-Jones has the raw ingredients to truly evolve into an exceptional Judas over time.
Ultimately, this production succeeds because it embraces risk. It doesn’t try to recreate someone else’s Jesus Christ Superstar. It creates a Seattle version of the show. Loud, emotional, artistic, contemporary, and deeply connected to the city’s music scene and creative identity. It is ambitious theatre made by artists clearly willing to throw themselves fully into the material.
And thanks to powerhouse performances from Alexander Kilian, Molly Sides, the emotionally fearless work of Cameron Lavi-Jones, and especially the breakout, star-making performance from Aaron Alexander Gordon, this production absolutely earns its standing ovation. If this run proves anything, it’s that Seattle’s theatre scene is overflowing with homegrown talent capable of creating bold original work that feels every bit as exciting as what audiences expect from New York or Los Angeles. And if The 5th Avenue Theatre is paying attention, they already have their next leading man waiting in the wings.