| CLEAR
CHANNEL ENTERTAINMENT Dates: 27 May
-1 June at 20.00 Reviewer: John Jane |
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Director: Kevin
Moriaty
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Its now more than thirty years since Jesus Christ Superstar was first released as a two-disc recording, when it was immediately greeted with fierce criticism by the mainstream Christian community. The fundamental reasons for this initial rejection were the storyline’s focus on Christ’s humanity rather than his divinity, and Jesus of Nazareth’s ultimate sacrifice depicted through the idiom of rock music. Jesus Christ Superstar eventually premiered on Broadway at the end of 1971 to mixed reviews. Shortly after, a distinctly different production which opened at the Palace theatre in London was somewhat better received. However, when Norman Jewison’s gutsy film adaptation, featuring Carl Anderson’s tour de force portrayal of Judas Iscariot was released in 1973, it finally validated Andrew Lloyd Webber and Tim Rice’s previously underrated score. This brand new hi-tech touring production currently showing in Vancouver, remains essentially faithful to Lloyd Webber’s original premise in chronicling the last seven days of the life of Jesus of Nazareth as seen through the eyes of his disillusioned apostle, Judas. Far from seeing himself as a betrayer, Judas believes he is an unwilling accomplice in Christ’s martyrdom. Carl Anderson once again returned to play Judas, a role he has made synonymous with his career. When he opened the show with “Heaven on Their Minds” one could sense the audience’s anticipation in that this was a special experience, and they responded with welcoming applause at the end of the number. After several hundred performances over three decades, it is quite remarkable how much passion and zeal Anderson is able to project. California
native Eric Kunze turned in a credible performance and seemed to have
settled into the title role, after replacing Sabastion Bach, the former
frontman from the rock band Skid Row.
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Natalie
Toro, who portrayed Mary Magdalene, brought a deep emotion to her performance.
The diminutive Bronx native displayed excellent vocal range in her rendition
of “Everything’s Alright” and “Could We Start Again”.
Baritone Lawson Skala was dead-on as the cunning high priest Caiaphas. Together with Jeffrey Polk as Annas, he presented a surreal image that was full of rueful menace. Paradoxically, Barry Dennen who played Pontius Pilate in the film version provided an odd footnote by appearing as the campy King Herod in an insouciant scene complete with a giant neon ‘HEROD’ sign. Peter J. Davison’s set design and Dana Solimando’s choreography combined with great effect in the rather bizarre temple scene, with electronic ticker boards indicating the devalue of infamous corporations, serving as a visual metaphor. Again, the visually graphic scourging scene was so disturbing, that I found myself squirming uncomfortably in my seat, but full marks to the choreographer for presenting this so powerfully. Roger Kirk’s costumes are startlingly modern, though lacking some consistency. The disciples were attired in a variety of cargo pants and desert boots, looking more like freedom fighters than artisans, while the roman guards were dressed in overstated riot gear. However, the red-corseted ‘soul girls’ who appeared in the ‘Superstar’ scene near the end of the show were a visual delight. It was with a standing ovation amid appreciative cheers, that the cast took their bows on opening night. Leaving the theatre, I overhead a member of the audience declare to her companion that she felt “spiritually uplifted” - I hope she wasn’t serious. Jesus Christ Superstar was great entertainment, but it wasn’t a bible lesson. © 2003, John Jane |