Broadway director returns to Asolo Rep for 'Jesus Christ Superstar'

Asolo Repertory Theatre is gearing up for a powerful new production of "Jesus Christ Superstar," directed and choreographed by Broadway’s Josh Rhodes. First staged in 1971, Andrew Lloyd Webber and Tim Rice’s rock opera reimagines the final days of Jesus Christ through a bold, contemporary lens. The counter-culture passion play set to a rock score changed the face of musical theater. With its timeless themes of faith, power and sacrifice, the show remains as electrifying and relevant as ever. In the following conversation, Rhodes shared his vision for this iconic musical, his approach to storytelling through movement and what audiences can expect on opening night.

What’s your creative vision for “Jesus Christ Superstar”?

I knew I didn’t want a high-concept setting or just Biblical robes. I wanted something timeless and elemental. My set designer, Adam Koch, and I built a massive unit set made of stone — something that could feel ancient or modern. That ties into the Greek word for Jesus’ profession — tektōn. It’s usually translated “carpenter” but it could also be “stonemason,” so that makes thematic sense. It’s a rock show — and our stone set grounds it in the texture of the earth.

Courtesy image

This musical came out in 1971. It revolutionized Broadway at the time. Do you think it still speaks to today’s world?

Definitely. We take it for granted now, but it’s an amazing character study. The musical humanizes one of the most mythologized figures in history. Jesus becomes a man — flawed, afraid, uncertain, angry. That feels incredibly modern. You see him not just as a spiritual leader, but as someone who struggles with doubt and ego. That kind of emotional complexity resonates deeply today.

Would you agree the script has a strong political undercurrent?

Absolutely. It’s a very politically astute piece. Jesus moves through a web of Roman occupation, Pharisees and zealots. Judas isn’t a two-dimensional villain; he’s a decent man, who’s terrified of where Jesus is heading. He tries to course-correct, and everything goes terribly wrong. The show doesn’t simplify him — it gives him depth and agency, which is always great theater.

How do you balance the musical’s sacred and rebellious elements?

I think that’s baked into the script. We’re telling the gospel according to Tim Rice — and he did the balancing for us. Everyone in the cast comes from different faith traditions, so I grounded us in the source material — the libretto — and let our dramaturg help separate Biblical fact from cultural myth. From there, we built on Rice’s version, aiming for emotional truth rather than historical reenactment.

What role does movement play in conveying emotions?

A very powerful role. As a choreographer first, I love nonverbal storytelling. Sometimes it's not traditional dance — it’s what I call behavior. Movement helps carry the emotional arc when the lyrics repeat. For instance, in “What’s the Buzz,” they sing the same line over and over, so I use staging and physicality to evolve the scene emotionally.

Is there one particular scene where movement really carries the story?

Not one “dance” moment per se, but the overall staging has a choreographer’s sensibility. It’s about moving bodies to clarify relationships and emotional beats. Sometimes it’s subtle, but the movement keeps the story flowing.

What’s your take on Jesus, Judas, and Mary Magdalene? How do you help the actors find depth in those roles?

I try to simplify: Jesus and Judas are like business partners hitting a crossroads. They used to be in sync, but now Jesus is becoming a “superstar,” and Judas doesn’t like his new direction. Then Mary comes in — a peacekeeper, but from Judas’ perspective, another wedge.

Image courtesy of Adrian Van Stee

She’s a first-century Yoko Ono.

(laughs) Exactly! It’s like a rock band breaking up over creative differences. I tell the actors, “Think Steve Jobs and Bill Gates.” It makes their emotional conflict tangible.

How do you keep the story clear in ensemble-heavy scenes?

The action can get dense, but every scene has a lead character. You’ve got to keep track of your lead. In “Simon Zealots,” I realized I wasn’t following Simon enough before and during the number. You can have the whole company dancing, but if you lose the narrative thread, the audience is lost too. I learned that years ago doing “Broadway Bares.” No matter how intense the spectacle, if you don’t keep the focus on your lead’s story arc, you don’t have a number.

What first drew you to “Jesus Christ Superstar”?

Years ago, I was trying to break into theater as a painting apprentice in Mississippi. Someone played the cast album while we worked. I remember hearing “Try Not to Worry” and thinking, “What is this?” Then I heard Mary’s songs — and that iconic guitar lick — and I was hooked. The music was electrifying. Later, when Peter Rothstein, Asolo Rep's producing artistic director, asked if I’d take on the show, I leapt at it.

What are the unique joys of directing this musical?

Working with amazing talents to bring an amazing story to life. These performers are unicorns. I’ve cast great actors who can sing and dance extremely well. They can all sing like crazy and move beautifully. Some don’t see themselves as dancers — but I keep pushing them. Movement is integral to the storytelling. The joy is in making something that’s both emotionally raw and musically thrilling. Thanks to the resources Asolo Rep gives us, that’s what we’re doing.

Correction: This article has been updated to state Peter Rothstein, Asolo Rep's producing artistic director, asked if Rhodes would take on the show.