Jesus Christ Superstar
at Hayfield Secondary

Reviewed on November 16, 2019

Alex Yee
Chantilly High School
Submitted for publication to Cappies News

The body and the blood, Judas's betrayal, Christ's crucifixion, and… electric guitar? In Hayfield Secondary School's impressive interpretation of "Jesus Christ Superstar", all four of these elements shone with blinding radiance. From the tortured inner conflict of Judas to the ruthless flogging of Jesus, the Hayfield Dramahawks took on Andrew Lloyd Webber's dark, rock and roll retelling of the Holy Week with maturity and, quite frankly, passion.

Jesus Christ Superstar opened on Broadway in 1971, receiving five Tony nominations and much critical acclaim. Known for its nearly impossible vocal arrangement and extremely emotional characters, the ‘70s rock musical remains popular nearly 50 years later.

Based loosely on Christ's last week on earth, the show centers around Judas Iscariot's conflicted betrayal of Jesus. Jesus is presented as a "Superstar" akin to rock stars like John Lennon or Freddie Mercury, whose followers (read: fan girls) have gone out of control. This crazed fanaticism is represented well by Zach Collison and Abby Heffner's choreography and executed skillfully by a talented and energetic ensemble. In "What's the Buzz", a buoyant crowd cheered on Jesus with religious fervor; in "Trial Before Pilate", an angry mob shouted, "crucify him!" with awesome gall.

If one is to put on "Jesus Christ Superstar", one needs a Jesus. The role requires a sky-shattering range, powerful emotional control, and most of all, endurance. From opening to close, Max von Kolnitz embodied all these aspects of the character with a talent rarely seen on a high school stage. Jesus' counterpart, Judas (Jordan Rockhill) is equally as challenging a role. Although Judas is traditionally played by men, Rockhill made the role her own and did just as her name suggests - rocked it. Not only did she possess vocals reminiscent of Stevie Nicks, her performance of "Judas's Death" evinced deep sympathy from within me. Both leads set an example to the rest of the high school theatre community as to what it means to perform musical theatre.

Although the show focuses primarily on Jesus and Judas, the supporting and ensemble members of the cast contribute largely to a successful performance. Standout performers include Brynn Spradlin (Pontius Pilate) whose stage presence in "Trial Before Pilate" set Spradlin as an equally powerful performer to both leads. With hand wringing and pained enumeration of Jesus's whipping, Spradlin enhanced the quality of the performance. Another performer, Patricia Villarroel Narvaez (Annas), who portrayed one of the Pharisees, defined her character with powerful rock vocals and expressive acrimony.

Both lead and supporting actors were assisted by the professional, beautiful technical teams. Whether it was the precise timing of the stage manager in coordinating the flashing light and cracking sound cues for the flogging scene, the multi-leveled set which was used in its entirety, the lights that divided Judas and Jesus into red and blue, or the changing ensemble costumes from light to dark, each technical element contributed to a cohesive and well thought out thematic image throughout the performance.

Although it may be irreverent to suggest that this performance contained some form of divine power, I will do so anyways. This cast and crew put on a phenomenal performance of one of the most difficult musicals ever written and made me proud to be a part of this high school theatre community. Thank you, Hayfield Dramahawks, and congratulations!

Mia Bridges
West Springfield High School
Submitted for publication to Cappies News 2

What's the buzz over at Hayfield Secondary School? It's the Hayfield Dramahawks' rockin' performance of "Jesus Christ Superstar!"

"Jesus Christ Superstar," with music by Andrew Lloyd Webber and lyrics by Tim Rice, is a rock musical that tells the story of Jesus's final days. The show follows Judas Iscariot as he struggles to decide whether to betray Jesus and have him arrested to stop him from losing control of his followers. Meanwhile, Jesus struggles to help everyone he possibly can and confronts his fear of dying for his cause.

Hayfield's "Jesus Christ Superstar" is led by the incredible Max von Kolnitz as Jesus. The sheer amount of emotion von Kolnitz was able to convey through his eyes alone had the entire audience holding its breath. His physicality, strong voice, and true understanding of his character's motivations, fears, and emotions created an incredibly sympathetic character and strong protagonist. Particularly, his number "Gethsemane," where he asked God why he must die, was a fantastically intimate and dramatic experience in which the audience was able to gain a real understanding of Jesus's inner torment through von Kolnitz's portrayal of the character.

Starring against von Kolnitz is Jordan Rockhill as Judas Iscariot. Rockhill's high energy and constant involvement in the story (even when she was in the background) always made her interesting to watch and brought a lot of depth to her character that is not always shown in other depictions of Judas. Her dynamic with Jesus illustrated their external conflict, as well as her own internal conflict as she debated on whether to turn Jesus in. Her performance in "Judas's Death" was particularly stunning as the audience got a clear picture of Judas's guilt and breakdown after her betrayal of Jesus.

Jesus Christ Superstar's set, designed by Brynn Spradlin, heightened the amazing show by lending itself to amazing stage pictures. Its symmetrical, multi-level design helped choreographers Abby Heffner and Zack Collison to tell the story through movement and symbolism. For instance, during scenes led by the Priests, one actor was placed on each raised level of the set, showing how the Priests were both literally and figuratively above everyone else. Additionally, by opening the second act with a tableau recreation of da Vinci's The Last Supper on the lowest level of the set, Jesus's humility was demonstrated, as he was on the ground among his Apostles instead of above them on a higher set level.

The lighting in Hayfield's production also heightened the show by creating different moods and symbolism. The colors of the lights always held significance – they glowed blue for Jesus's moments and red when Judas was in focus. One incredible use of lighting was at the very end of the show when Jesus was crucified – he was hung on the uppermost level of the set against a grid of concert lights when the stage blacked out and the grid lights glowed in the shape of a cross. As Jesus said his dying words, the cross glowed so bright that some of the audience had to look away. However, those who continued to stare at the lights left the theater with the shape of a cross etched into their vision. This image was the culminating moment of the show and held an incredible amount of power and emotion.

Fast-paced and intense, Hayfield's production of Jesus Christ Superstar heavily impacted the audience through its story of faith, betrayal, and trying desperately to do what is right. The Hayfield Dramahawks truly are superstars!

Vivian Lemons
Oakton High School
Submitted for publication to FCPS Community News

Tackling one of the most retold stories of the last two thousand years, Hayfield High School also takes on one of the most iconic musicals produced in the last five decades. With stellar singing, timeless acting, and compelling technical designs, Hayfield does "Jesus Christ Superstar" justice.

"Jesus Christ Superstar" is a rock opera with music by Sir Andrew Lloyd Webber and lyrics by Sir Timothy Rice, whose collaborations have brought us "Evita" and "Joseph and the Amazing Technicolor Dreamcoat." Originally released as a best-selling album in 1970, the musical opened on Broadway in late 1971 at the Mark Hellinger Theatre, running for 711 performances. Panned by some reviewers, the show was nonetheless nominated for multiple Tony Awards, and has since been revived around the globe from London to Sydney. In 1973, Superstar was adapted into a popular movie, and in 2018 NBC brought it to TV as an installment of its recent live musicals series.

Set in the final seven days of Jesus Christ's life, "Superstar" examines the interpersonal dynamics among Jesus of Nazareth, Mary Magdalene, Judas Iscariot, and Pontius Pilate. Based loosely on the Gospels, the plot focuses on the discontent Judas experiences as he watches the movement Jesus has sparked. Ultimately, Judas betrays Jesus, triggering a series of events that leads to the death of both Jesus and Judas, as well as the debasing of Pilate.

Max von Kolnitz provided an exceptional performance as Jesus of Nazareth. He portrayed Jesus' inner conflict and turmoil convincingly, and he appeared authentically in character the entire show. His superstar vocals were outstanding; he repeatedly reached notes that soared to the heavens and brought the house down. One example of this was his performance in "Gethsemane," during which he left his entire soul on the stage. Jordan Rockhill as Judas matched von Kolnitz's star quality with her powerhouse performance of numbers such as "Damned For All Time" and "Judas's Death." The conflict between Jesus and Judas was executed to perfection, with von Kolnitz and Rockhill letting the audience see their characters struggle between compassion for each other and disagreement in values.

Caiaphas (Evan Holt) and Annas (Patricia Villarroel Narvaez) brought added depth to the stage with their dark vocal tones and vivid facial expressions. Holt's deep bass contrasted von Kolnitz's high tenor brilliantly. Narvaez's training and control manifested in standout vocals in numbers such as "Judas's Death" and "Pilate and Christ."

The technical elements of this show were outstanding as well. The lighting, headed by Vincent Pilone, affected the entire mood of the performance with a single switch in color. The cyclorama was used to illustrate the conflict between Jesus and Judas by dividing it with different colors behind each character In addition, the costuming, designed by Elle Rasmussen and Abby Heffner, transported the audience to the '70s while still conveying the biblical characters that the actors were playing. For example, Judas' first outfit consisted of a black shirt underneath a brown leather jacket, red skinny jeans and combat boots. The dark hues of Judas' costume both contrasted the white outfit of Jesus perfectly and simultaneously screamed rock and roll.

Beyond the biblical storyline, Jesus Christ Superstar takes on themes of friendship, struggle, betrayal and forgiveness, all within a rock opera format. Hayfield High School tackled this demanding show with the feel of operatic tragedy and the spunk of pure rock and roll.

Meghan Dreany
Saint John Paul the Great Catholic High School
Submitted for publication to Patch.com

Look! It's "Jesus Christ, Superstar!" The Hayfield Dramahawks' production of Andrew Lloyd Webber's famed classic was a raw cascade of emotions that stunned the audience with a spectacle of talent and tech. From soaring vocals to awe-inspiring lighting, this production of Jesus Christ Superstar is one for the history books.

First written in 1970, the musical is characteristic of Andrew Lloyd Webber's famed rock operas. Following Jesus of Nazareth through his final week of life and concluding with his crucifixion, the musical is peppered with despairing songs of anguish sharply contrasted by upbeat numbers, such as the show's namesake tune. By the fall of the curtain, the Dramahawks left the audience speechless because they poured themselves so completely into their performance.

The physical exertion Max von Kolnitz underwent to bring the character of Jesus of Nazareth to life was palpable, particularly in the musical numbers "Trial Before Pilate" and "Gethsemane." Von Kolnitz's physicality and expressions were incredible and heart-wrenching, as he literally collapsed from the burdens placed on his shoulders. His sobs and screams revealed an actor mature beyond his years with astounding vocals to complement his incredible performance. Contrasting his purity was the treacherous apostle Judas Iscariot played by Jordan Rockhill. Rockhill's energy spilled off the stage with every number as she navigated advanced vocal riffs and fought through her inner conflict of loyalty.

Brynn Spradlin playing Pontius Pilate succeeded in revealing a tormented soul who acknowledged the power of Jesus but succumbed to the pressure of the High Priest Caiaphas (Evan Holt), and Annas (Patricia Villarroel Narvaez). Holt's voice was a rich and powerful force that gave a different perspective on the evil throughout the show. Villarroel Narvaez's presence was intimidating to the core and her vocal skill was impressive as she exuded cool cruelty and chilling evil.

Among the ensemble there were also standout performances. Lead Dancer Zack Collison showcased flawless technique while Lead Dancer Abby Heffner demonstrated her vaudeville charm in the number "King Herod's Song."

Framing the immense talent was the artistry and creativity of the lighting crew. Chief Vincent Pilone and his team worked wonders on stage. From themed mood lighting to strobing timed precisely with the scourging and the terrible beauty of the lit cross, it was magical. The lighting design enhanced the actors' emotions and solidified their messages.

A triumph and a masterpiece, the Hayfield Dramahawks soared once again. As explained in a program note, the production was dedicated in loving memory of the company's recently passed mentor and teacher Walter Krushinski. The production is a testament to his impact on the organization.

Rachel Kulp
McLean High School
Submitted for publication to Alexandria Times

Don't be fooled by the electric guitar riffs and flashing lights, Hayfield Secondary School's poignant production of Jesus Christ Superstar is more than just a rock concert. This imaginative retelling of the Bible highlighted the humanity of the world's most recognizable characters with its touching sincerity.

First written and produced in 1970 by the classic duo of Andrew Lloyd Webber and Tim Rice, Jesus Christ Superstar is an unconventional retelling of the last week of Jesus's life. The story begins with Judas's ballad, pleading for Jesus to change, and ends with Jesus's crucifixion. The rock opera centralizes on Judas's perspective of Jesus's work and his ultimate betrayal of the titular character. Distinguishable by its unique and challenging score, as well as its complex technical aspects, the original 1971 Broadway production of Jesus Christ Superstar was nominated for five Tonys, including Best Original Score and Best Scenic Design.

Jordan Rockhill's frantic and conflicted performance as Judas Iscariot was the catalyst of the entire production. In "Damned for All Time," Rockhill's agitated cries and jerky movements instilled a sense of urgency in the audience that perfectly accentuated her character's inner turmoil. Particularly in this number, but throughout the show, her stellar vocal control and power, stunned her audience. Intensely emotional, Rockhill's presence and performance were only matched by Max von Kolnitz, as Jesus of Nazareth. Von Kolnitz humanized divinity, delivering a heartbreaking performance in "Gethsemane" and "The Crucifixion." He genuinely captured his character's shift from an idealist leader to a man broken by hate, fully connecting with his viewers by stepping out into the audience.

Other remarkable performances included Naja Bates as Mary Magdalene and Brynn Spradlin as Pontius Pilate. Both Bates and Spradlin transformed their smaller roles into memorable ones by expanding their characters' emotional arcs, building sympathetic personalities onstage. Bates took the simple melody in "I Don't Know How to Love Him," and added in her own impressive vocal runs, showing off her true talent. On the other hand, Spradlin, in "Trial Before Pilate," brought weight into this ballad with his soulful intonations.

Embodying pure evil, Evan Holt as Caiaphas and Patricia Villarroel Narvaez as Annas, delivered vocally spectacular performances, handling their challenging roles with ease, especially in "Judas's Death." Holt's strikingly deep baritone blended perfectly with Narvaez's powerful alto, their power underlining the influence that both characters had. Among the ensemble, two dance standouts include Abby Heffner and Zack Collison, both of whom maintained high energy and precision throughout the show, but their skills were best seen in the upbeat "What's the Buzz?" and the dramatic "Temple."

Technical aspects of Hayfield's production were truly noteworthy. The lights set the mood for each scene, shifting the colors of the set to inform the audience of the true nature of certain characters. They also dramatically accentuated critical moments, most profoundly in the finale at the cross. Sound and lights were perfectly in sync, especially in "Trial Before Pilate," where the whipping of Jesus was artistically modeled by the blending of these two crews. The choreography team also sculpted fantastic stage pictures, especially with the juxtaposition between Judas and Jesus, and brought vivacious energy into this somewhat somber show.

In the end, the audience at Hayfield Secondary School's beautiful performance of Jesus Christ Superstar, saw the side of Jesus, that was just "a misguided martyr," who in his final moments called for answers that never came, reminding them all to consider the disastrous consequences of mob mentality and leaving them wondering who was the true villain in this tale of woe.

Caroline Milne
St. Andrew's Episcopal School
Submitted for publication to Connection

It's fair to say that Hayfield Secondary School's production of "Jesus Christ Superstar" lived up to its title. The 1970s rock musical in no easy task, emotionally or technically, but Hayfield's cast more than fulfilled expectations. The musical, created by Andrew Lloyd Webber and Tim Rice, follows Jesus of Nazareth and Judas Iscariot, during the days leading up to Jesus's crucifixion.

As soon as the audience walks through Hayfield's auditorium, they are reminded of a rock concert. The impressive set designed by Brynn Spradlin consisted of a three-level platform that included a ladder and two sets of stairs, two towers, and two ropes. The versatile and concert-like set helped create beautiful stage pictures, especially during the crucifixion scene and the priest scene. In addition, the collaboration between sound, set, and lighting was laudable. This was especially evident in the scene when Jesus was whipped. The ropes that held Jesus, the perfectly timed sound of the whip hitting his flesh, and the single spotlight worked together to construct a powerful image.

The costumes designed by Elle Rasmussen and Abby Heffner accented each character. While in the first act, most ensemble members were dressed in bright seventies attire, each member wore black in the second act, emphasizing how the mob's mentality changed from adoring Jesus to calling for his head.

Max von Kolnitz (Jesus of Nazareth) was truly a superstar. His impressive belt, physicality, and connection with the ensemble made his performance not only believable, but powerful. Even when he was not singing, von Kolnitz always embodied his character by talking to his followers or praying. In addition, his anguished physicality during the beating scene added to the already powerful image created by the tech.

Another stand-out performer was Jordan Rockhill (Judas Iscariot.) Starting at the beginning of the production, Rockhill's disapproving facial expressions established the growing conflict between Jesus and Judas. Rockhill showcased her remarkable belt and range in several numbers, most notably "Judas's Death," "Gethsemane," and "Superstar." Throughout the show, Rockhill embodied Judas's character, conveying his agonizing decision to betray Jesus and his regret at collaborating with the priests through her never-ending energy, physicality, and facial expressions. Her choice to return to the tower throughout the show, banging her head against it or grabbing the rope, not only foreshadowed Judas's eventual suicide on the same tower, but also conveyed Judas's regret and inner conflict.

Three other notable actors were Evan Holt (Caiaphas), Patricia Villarroel Narvaez (Annas), and Brynn Spradlin (Pontius Pilate). Holt's robust bass and Villarroel Narvaez's beautiful vocals created a commanding stage presence during the priest scenes. In addition, Spradlin's tense physicality created empathy within the audience for Pilate's inner conflict to give in to the mob and priests and allow them to execute Jesus.

Hayfield Secondary School staged an impressive production of "Jesus Christ Superstar." While long transitions and focus on vocal technique sometimes took away from the energy of the show, the cast's and crew's impressive élan more than made up for it.

Jack Dalrymple
Annandale High School
Submitted for publication to Fairfax County Times

Do you know "what's the buzz"? It's Hayfield Secondary School's bone chilling production of "Jesus Christ Superstar!" With killer vocals, spectacular technical elements, and fierce emotion, Hayfield's production left the audience with "Heaven on their Minds."

Jesus Christ Superstar is a rock opera with music by Andrew Lloyd Webber and lyrics by Tim Rice. There is barely any dialogue and the show is for the most part sung through. The story loosely follows the Gospels' accounts of the last week of Jesus's life, focusing on the struggles between Judas Iscariot and Jesus of Nazareth. The original production opened on Broadway in 1971 and was nominated for 5 Tony Awards. It has been revived many times since.

As Jesus of Nazareth, Max von Kolnitz captured everyone's attention from the moment of his first entrance when he walked out of the pit in almost glowing white clothing. Von Kolnitz's unique performance captured a different side of Jesus, showing a more emphatic and struggling man highlighted most notably in the song "Gethsemane." His commendable vocals shone through in many of his other songs such as "What's the Buzz?" where he hit stratospheric notes.

Perhaps the most standout performance of the show was one of Jesus's twelve apostles, Judas Iscariot, played by Jordan Rockhill. Usually played by a male, Judas's vocal parts are incredibly challenging. However, Rockhill rose above the challenge, impressing the audience with her insane low to high range time and time again. Adding to the performance, Rockhill's acting was exceptional. As an example, Rockhill's Judas consistently strayed toward the rope that would be her eventual demise.

Other notable performances included the roles of Caiaphas (Evan Holt) and Annas (Patricia Villarroel Narvaez). As two very important antagonists in the show both Holt and Villarroel Narvaez showcased their impressive vocals. Along with the other priests (Ashton Caldwell, Ryan Petrus, and Daniel Hawn) the Priests created a sense of eeriness that highlighted Judas's inner torment.

The technical elements were also impressive. The lighting designed by Vincent Pilone, and ran by Sophie Ciccariello, Vaughn Ververs, Joseph Page, Hanna Pham, Will Lewis, Kat Hammari, Krya Sliteris, and Lizzie Nielson spectacularly caught the mood of each scene throughout the show. From lights that looked like rays of sun beaming down on Jesus to the use of 40 lamps to create a cross pattern in the crucifixion scene, the lights always added new meaning. The set designed by Brynn Spradlin allowed for many different uses of levels throughout the show. For example, the ladders on the front of the set allowed for nice contrast in the show's use of space.

Hayfield Secondary School's production of "Jesus Christ Superstar" was edgy, thought-provoking, and fresh. The company put on a show that left the audience knowing that "Everything's Alright."

Addie Winger
Loudoun Valley High School
Submitted for publication to Lorton Valley Star

What's the buzz? It's Hayfield Secondary School's rock and roll masterpiece Jesus Christ Superstar! With immense vocal talent, masterful lighting, and contemporary set design, this production will leave you in awe.

The timeless 1970s rock opera with lyrics by Tim Rice and music by Andrew Lloyd Webber has been an international phenomenon for nearly 50 years. Loosely based on the Gospels, the musical depicts Jesus's final days on earth, the destitute state of Jerusalem, and Judas's betrayal of Jesus.

Adorned in illuminating white, Max von Kolnitz embodied the kind-hearted yet troubled Jesus. Von Kolnitz's soulful blue eyes were electric with emotion in his heart wrenching rendition of "Gethsemane". Von Kolnitz's haunting screams of agony brought the horrific "39 lashes" to life, delivering a gruesome and unforgettable scene.

Judas (Jordan Rockhill) contrasted Jesus' heavenly composure with black leather and dark makeup. Rockhill projected Judas's imminent torment and guilt for betraying Jesus exquisitely. Donned in a sparkling jacket and bedazzled go-go boots, Rockhill thrilled the audience with her vocal talent and sass in the much awaited theme "Superstar".

Naja Bate's graceful stage presence and honeyed vocals personified Mary Magdalene as she serenaded the audience with the ethereal "I Don't Know How to Love Him".

The Priests sinister presence radiated the kind of evil the audience loves to hate. Caiaphus's (Evan Holt) chilling bass in "This Jesus Must Die" and Annas' (Patricia Villarroel Narvaez) powerful vocals left the audience yearning for more.

Brynn Spradlin skillfully portrayed a sympathetic side to the villainous Pontius Pilate in "Trial before Pilate". In contrast, the ensemble's cries to "crucify him" symbolized the destructive tendencies of a mob mentality.

The lighting team, led by Vincent Pilone, created ambiance with harsh red lighting for Judas, soft pink lighting for the benevolent Mary Magdalene, and divine gold for Jesus himself. The use of lights as the cross forced the audience to either look away or stare into the light. Those who chose to look into the light has the image of the cross would lingering in their vision for minutes after the curtain has closed. During "39 lashes" the lighting team expertly displayed Jesus's pain with blood red lighting and flashes of white light with each crack of the whip.

The set, designed by Brynn Spradlin, seamlessly blended elements of rock and roll and ancient Rome and elevated the performance by creating levels.

Hayfield Secondary School's production of Jesus Christ Superstar is unforgettable. Even once the curtain has closed the blinding image of Jesus strung across the beaming lights and the words "Father forgive them. They don't know what they're doing." is branded into the audience's mind.