Director Fred Boatwright has managed to pull together one of the most talented casts to play the BlueBird Theatre stage for the Orangeburg Part-Time Players' production of "Jesus Christ Superstar."

Every person who sets foot on the stage -- from the main characters to the angels in the title song "Superstar" -- gives an exceptional performance. Boatwright has said that it moves him as a director to see an active exchange established between the cast and the audience. He'll be happy to know that yes, that exchange does happen in "JCS," the season's second OPTP offering. The cast gives its all, and the audience is moved by the telling of the last week of Jesus' life through this powerful rock opera.

The Andrew Lloyd Webber-Tim Rice score is magnificently performed by an orchestra under the direction of Kay Crawford. Crawford has once again managed to take complex music and weave together an intricate quilt of vocal and instrumental genius. Very nicely done.

In the title role of Jesus, Matt Quay uses his background as a former front man to bring to life the religious figure. Not only does Quay resemble the Christ of many artistic renderings -- Quay is brilliant in his expressions, body language and, most notably, his voice. From the tenderness we see and hear when he interacts with Mary Magdalene to his anger at the mockery in "The Temple" to his prayerful longing and ultimate acceptance of his fate in "Gethsemane," Quay proves himself an actor with a range far exceeding expectations. Quay, who played Jesus in the Players' 2001 production of "JCS," is at home in his reprisal of this role.

From the moment the spotlight hits Jä Cook on the stage, the audience gets a feel for Judas, Jesus' "ri

ght-hand man," and his contempt and fear for what has become of Jesus' ministry. Cook's expressive face shows his disagreement with Jesus' actions and his inner conflict at having to choose between life without the Savior and death with the Savior. His strong vocals portray that conflicted spirit quite nicely. Because "Jesus Christ Superstar" is told through the eyes of Judas, Cook's performance has to be convincing and powerful, and it is both. The audience hurts with him at the pain of betraying Jesus for silver in "Damned For All Time" and feels his remorse in "Judas' Death." Truly a haunting performance.

Having appeared as Belle in "Disney's Beauty and the Beast" and Maria in "The Sound of Music," the Orangeburg community has already seen what Kim Whitesides is capable of. And as Mary Magdalene in "Jesus Christ Superstar," it is no different. Whitesides has a beautiful instrument, which she uses to her full advantage on Mary's trademark song in "JCS" -- "I Don't Know How to Love Him." Again, body language and expression take this actress far in her portrayal of Mary. And Whitesides' melodic part in "Everything's Alright" entrances and soothes the listener.

The Rev. Dr. Frank Larisey as Pilate is especially noteworthy and gives the audience a humanistic picture of the man who held Jesus' fate in his hands. In "Trial Before Pilate," the audience sees the pain in Larisey's face as his character orders Jesus to be beaten in hopes of appeasing the crowds calling for his death. When the crowds do not relent, it is evident "Pilate's Dream" will come t

rue. Larisey's strong voice compliments his character well.

Larger-than-life is Daryl Cate's King Herod. In "King Herod's Song," Cate uses his skill as an entertainer to his full advantage as an over-the-top, flashy King Herod -- complete with dancing. Wow, the one light period in a dramatic show, and it works.

Travis Boland as the Apostle Simon Peter manages a bit of solo action in "Could We Start Again, Please." Peter's duet with Mary is a beautiful and moving dialogue about Jesus' ministry and where it has led him and his followers, and the pair harmonizes well together. And Michael Traynham as the Apostle Simon Zealotes does a fine job singing of the crowds' devotion to its King.

Michael Crawford as Caiaphas leads a quartet of priests that includes Craig Harward as Annas, Joey King and Earl Quay. The foursome manage some powerful scenes as they come to the conclusion that "This Jesus Must Die" and then offer the conflicted betrayer Judas 30 pieces of silver for Christ in "Damned For All Time."

All of the apostles do a splendid job throughout the show -- following and fighting for Jesus -- and in portraying "The Last Supper" scene, for which they received an ovation for their visual tribute to the famous Leonardo Da Vinci painting, "Last Supper." And to members of The Company -- the apostle women, soul sisters, lepers, reporters, soldiers, angels and chorus members -- you guys make some breathtakingly beautiful music together. The harmonies are astounding and the staging, perfect.

Last, but certainly not least, Vicki Smith King and her dancers are a visual delight as Temple dancers and Hero

d's girls. King

did a fabulous job with the show's choreography.

There are a few places that stick out in my mind as ingenious -- one is the "Trial Before Pilate" scene in which Jesus is being beaten. I think the use of actors or dancers coming through and smearing Quay's body with red is an effective way to show the abuse Christ endured before being crucified. And the slide show depicting different artists' interpretations of the Crucifixion is very effective and gave this reviewer chills as the sound of nails being driven into Jesus' hands and feet could be heard.

The set was simplistic, and it, too, works, transporting the viewers into different places with the turn of a staircase or the arrival of a platform. The costumes are also great, from the ritzy King Herod attire and Pilate's stately dress to the apostles' humble apparel. Lighting effects get a nod as well.

My one criticism of the production is the intermission. I was so into the first act, brought to tears by Mary's struggle in "I Don't Know How to Love Him" and the betrayal by Judas in "Damned For All Time," but I was never able to get back into the show after the lapse. What a shame -- I feel I missed out on fully experiencing the touching final scenes of "Jesus Christ Superstar."

Overall, the OPTP's "Jesus Christ Superstar" is a spectacular theatrical accomplishment. Boatwright and his production staff, cast and crew are to be commended for a divine night of entertainment. The alternate ending was a toss up -- while I don't know how I feel about changing a work of art, it was a nice touch, leaving the audience with the Christian view of the Resurrection of Jesus and taking "JCS" beyond its place in pop culture as just a show.

If you don't have tickets to see the OPTP's production of "Jesus Christ Superstar," you have missed out on a wonderful experience.

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