The ease with which "Superstar" makes the transition to the smaller stage is evident in the current Good Guys Productions being staged at the Curtis Theatre in Brea. Its size is modest, its tone for the most part naturalistic, and its intent--remember it was originally a concert piece--is to frame the music and lyrics. There's not a lot of flash here, but the production makes up for it by its honesty and sincerity.

Beyond that, this is a bang-up staging, at moments vibrant, with originality in its lighting, and some top-notch performances in the major roles. Even the buoyant ensemble has a dynamic energy, and Rob Blaney's musical direction is exciting, infusing Webber's pseudo-rock score with gutsy brawn.

The tone of the production and its period look are the work of director Lisa Gary, who respects Rice's book for its simplicity and the inevitability of its climaxes. Her staging is interesting and filled with persuasive detail and has cast it with insight. Melanie K. Jacobson's choreography for the most part is vibrant and electric, though there are moments when the movements she has given some of the female dancers seem weak and withdrawn compared with her overall concept.

As the central figure, Jesus of Nazareth, David Kirk Grant wisely restrains himself, creating a gentle portrait except in those moments when Webber's music and Rice's lyrics inevitably pull him up to an intense level. It's a nicely rounded performance, matched well with Robin Jay's driven Judas, which has an urgency that makes its own statement. It would be interesting to see Jay finding a few moments of reflection along the line, but his inner fire is really the core of the character.

All of the leads are vocally strong, but the most interesting performance is that of Tom Mesmer as Pontius Pilate. He has a voice of intensity even in its quiet moments, a rich, strong lower register that rings with authority, and the ability to soar into crystalline head tones with little effort and great effect. Christopher Spencer's Herod is effective in "King Herod's Song," though the song always seems at odds with the rest of the music. Its campy abandon isn't as outlandish here as in other productions, and it works well.

Kim Bueno is a subdued but able Mary Magdalene, who shines vocally in her second-act duet with Buck McCoy's Peter, who denied Jesus. John Downey III also stands out as the priggish Annas, with a sharp edge to his voice that tells all about his character.