I bought my tickets for this Jesus Christ Superstar the moment it was announced that Cynthia Erivo was leading the cast. Before any other names were revealed, and before I'd figured out that I’d never been to the Hollywood Bowl and had no idea what I was getting myself into. That’s how much faith I had in Erivo and in this show (which is one of the few of Webber’s that I wholeheartedly love). For the most part, the cast delivered: soaring vocals, fantastic music, and a stage full of theatre royalty.

I’m a devoted theatre fan—but what kind of theatre critic would I be if I didn’t share a few thoughts after the haze of hallelujahs and hosannas cleared? If I left opinions unopined?

Cynthia Erivo was exquisite. Her voice was smooth and rich, and her entrance gave actual chills. You could feel it happen as she ascended onto the stage, an involuntary audience-wide shiver as she emerged bathed in white light, glowing in the tattered shrouds of Jesus. She had the voice, the presence, and a centered calm that made the character feel human and divine all at once. Even when her mic cut out at the top of Act II, she handled it with such poise, calmly gesturing offstage, staying locked into the moment, that the crowd stayed riveted. By the time she hit the emotional peak of “Gethsemane,” full of fear and frustration, the audience exploded to its feet. Her Jesus had warmth, gravity, a kind of gentle command, touched by an otherworldliness that made you believe in her completely.

Phillipa Soo was a beautiful Mary Magdalene, and the chemistry between her and Erivo was one of the best I’ve seen in any production of this show. Their voices blended gorgeously, and they clearly trusted each other onstage; comfortable, supportive, and emotionally in sync in a way that made their scenes crackle. It was subtle, but deeply felt.

Raúl Esparza, meanwhile, was my favorite performance after Erivo. His Pilate was both funny and emotionally complex, clothed in a sweeping purple suit and robes that moved beautifully and influenced his character's posture and presentation. There was something regal, smart, funny, and tormented in his portrayal, and he knew exactly how to let that tension play out.

Saturday’s audience got a surprise when Josh Gad appeared from behind golden feathered fans as Herod, a reveal that met with delighted cheers from the audience. Gad had been sick earlier, and John Stamos filled in on Friday, but on Saturday, it wasn’t clear who we’d get. Gad was still recovering, but his timing and charisma carried him through. Four minutes of comedic camp is where he shines, and this was no exception.

That said, it’s unfortunate that the understudy, Joey Taranto, didn’t get to perform. Understudies are more than capable, and it’s a missed opportunity when productions favor name recognition over letting the understudy step in and do their job, even if the name recognition is one of the hallmarks of a Hollywood Bowl summer musical production.

Adam Lambert’s Judas was where the production started to lose some of its emotional impact. Vocally, there’s no denying his talent; his range is wild, full of power and soaring notes, and he commits fully to the rock tenor theatrics. But acting-wise, it didn’t quite land.

Judas is a deeply conflicted character, and Lambert, though he tried, couldn’t quite tap into that emotional texture. His performance often felt one-note. Impressive singing, yes, but not much inner life behind it. Lambert looked incredible and sang like the rock star he is, but the vulnerability and inner torment just weren’t there. Surrounded by actors giving layered, thoughtful performances, his delivery felt loud rather than lived-in.

The ensemble brought solid energy, weaving through the Bowl’s massive aisles and filling the stage with movement and sound. Standouts included Tyrone Huntley as Simon, Milo Manheim as Peter, Zachary James as Caiaphas, and Brian Justin Crum as a sharp-edged Annas. The pit singers deserve major praise, adding gorgeous choral depth from offstage, often invisibly, but never inaudibly.

Musical director Stephen Oremus found the right balance between Broadway polish and rock grit. The band sounded incredible; this is one of Webber’s best scores, and it lives and dies by its guitar solos. Hearing it played live by such a talented orchestra was a thrill, and a great reminder of why live music in the theatre always matters.

Direction and choreography by Sergio Trujillo kept the show moving fast and full of energy. The semicircular ramp downstage was used to great effect in “Superstar,” with Judas singing to a struggling Jesus carrying the cross. Other times, it felt more like a logistical challenge than a dramatic asset; there were a few awkward lulls as actors had to travel that long curve to get where they needed to be.

Scenic design by Jason Ardizzone-West leaned into the concert framing, though JCS is typically spare anyway. The major visual difference was the use of handheld mics for Erivo, Soo, and Lambert; everyone else had headsets. It added a bit of rock concert energy but didn’t drastically alter the feel of the show.

The LED screen, however, was underwhelming. Its best use came at the end, when Erivo stood in front of a glowing digital cross. Most of the time, though, it displayed giant text, “JESUS” or “HEROD” like a visual name tag. Sometimes it projected a close-up of the singer’s face in that awkward floating-head style, reminiscent of ‘80s yearbook photos.

It rarely added much, and in some cases, like Judas’s final moments, it undercut the drama. The audience sees as the cameras follow him as he climbs the stairs in crisis, the screen turns red, and… that’s it? With all the tech available, there was so much more they could have done on screen to finish that thought.

Costumes by Emilio Sosa were fitting for the characters; the apostles and Mary wore earth-toned fabrics that looked appropriately desert-friendly. The Pharisees were decked out in black leather and belted robes. Pilate looked appropriately regal. And Herod? A glorious vision of tacky gold, complete with skulls, which was very on-brand.

Erivo’s white ensemble had lovely details, including shredded fabric like unraveling burial cloth, but one odd note was the cross necklace she wore. A strange choice, considering the crucifixion hadn’t happened yet —it’s the equivalent of someone on death row wearing a tiny electric chair charm. If it was meant as foreshadowing, it felt unnecessary. If it is just jewelry, it felt like a miss.

Lambert’s Judas had a striking look, very emo rock, in all black with sharp shoulders and massive boots, but for me, it raised more questions. Judas is the one complaining about extravagance, yet he’s decked out in a full suit and platform shoes when everyone else is in colorful linen and flats? (Also, this exaggerated silhouette made the height difference between him and Erivo seem insane.)

His resurrection look for “Superstar” worked better: a silver-trimmed, streamlined suit with flat shoes that let him move more easily and visually aligned him with the glimmer of his blood money. Plus, it looked great under the lights.

Yes, that’s a lot of notes for a show I genuinely enjoyed. It had power, star wattage, and plenty of moments that earned their standing ovations. I hope they release a cast album because even with its flaws, this JCS gave us some vocal performances that deserve to be heard again and again.