WHEREAS, the Rogue Critic is a known detractor of the ubiquitous Andrew Lloyd Webber, and WHEREAS, the Rogue — having heard from trustworthy people that his early stuff is worth a listen — went into Jesus Christ Superstar with an open mind, and WHEREAS, the Rogue was indeed not moved by the score of the rock opera, THEREFORE IT IS HEREBY DECREED that the Rogue harbors a black, sucking void in her heart where her love for Webber should reside. Caveat emptor, if you will.

The production now at the Encore Musical Theatre Company has a number of clear strengths. With a cast of twenty-six, staging by directors Daniel C. Cooney and Barbara F. Cullen and choreography by Kristi Davis provide constant visual stimuli without once crossing over into clutter. Thanks in no small part to the set design by Toni Auletti (whose combination of arid boulder backdrop and modern scaffolding looks like a funky archaeological dig), stage pictures are consistently dynamic and thoughtful. A thrilling wordless prologue, inspired by the Stations of the Cross, is made even more memorable by use of an effectively jarring strobe light, which recurs as the same moments play out again later. The strong ensemble helps fill the stage with energy, and some of the voices — my favorite the inhuman tenor of the priest Annas (Andy Jobe) — are exceptional. At the center of the show, Aaron LaVigne is a magnetic presence, making it easy to understand what the fuss is about.