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critique corner

by Jeff Rossen – July 29-August 4, 2010

Everything’s Alright in “Superstar”

Andrew Lloyd Webber and Tim Rice’s 1971 rock opera “Jesus Christ Superstar” is not an examination of or commentary on Jesus as a religious figure. What the team, and Rice in particular through his lyrics, created instead is a portrait of the effects Jesus had on the public in general and those closest to him during his brief time as a man on this Earth. Today we would call it “celebrity.” And director Stacey Flaster tackles this theme with a sharp focus and spectacular execution for a new and revitalizing production at Theatre at the Center.

In a stark setting by Christopher Ash that looks like an industrial warehouse, and heightened by Tim Fandrei’s boldly dramatic lighting, Flaster’s combination of aggressive staging and fluid choreography creates an electrifying experience for the audience. And an extra loud bravo to designer Nikki Delhomee for the vibrant mix of modern dress with highly stylized and wildly comical costumes.

Judas, one of Jesus’ apostles, is a bit perturbed because he feels that Jesus has become obsessed with “this talk of God” and that Jesus believes he’s “begun to matter more than the things you say.” Where this anger comes from, the libretto never makes clear. But what Judas is doing is calling Jesus out and trying to make their common cause the focus. Judas is also not happy about Jesus’ close association with Mary Magdalene, both because of her perception as a prostitute and because she’s a woman. The rift between the men grows wider until Judas betrays Jesus, leading to Jesus’ ultimate crucifixion. The rest of the apostles are portrayed as mere tag-alongs, caught up in the prestige of being part of the “in” crowd. Of them all, it is only Mary who seems to see Jesus as he really is (at least in this telling), a man trying to do good.

With a running time of around 95 minutes (plus intermission), “Jesus Christ Superstar” has a lot of story to tell within a short time frame, so Webber and Rice don’t offer up much substance or probing into the “why” of this seven-day tale. It’s more like thumbing through a photo album – “Oh, here we are at Gethsemane” … “Oh, look. Remember when you turned over those tables at the temple?” – but like photos taken with a high-resolution camera, the visuals here are crisp and vivid. And, my, oh, my, is Webber’s music well sung.

Led by a fiercely sung (from soaring falsetto to rich bass notes) performance by Max Quinlan as Jesus, the ensemble sounds absolutely sensational, and their vocal work is captured perfectly by Barry G. Funderburg’s crystal-clear sound design. The earthiness in Joe Tokarz’s Judas and sensual poise of Audrey Billings as Mary Magdalene combine to form effective counterpoints, with Jesus caught dead center between them. The bravado and ultimate anger Larry Adams brings to Pontius Pilate and simple confusion displayed by Jonathan Lee Cunningham as the knowledge-denying Peter add immensely to their moments in the story, and the stony-faced mix of menace and ignorance of the quartet that wants to put a stop to Jesus’ growing popularity is played with keen precision by Jeff Diebold, Kevin Barthel (who’s one busy fella, what with performing, having designed the wigs and acting as dance captain), Dan Ferretti and Peter Vamvakas. When Pilate decides that Jesus is King Herod’s problem and not his, the resulting scene with Steve Genovese as Herod is envisioned in a circus setting by director Flaster, and the clown-clad Genovese, along with Herod’s chorus of jesters, creates a hilarious and chilling moment that stops the show.

But for all its theatrics and visuals, “Superstar” has at its core engaging performances and strong vocals. And there are many moments when those two elements come together memorably, such as when Mary reaches out to connect with Judas during Everything’s Alright, in Peter’s confrontation by a crowd of paparazzi following Jesus’ arrest, Adams’ introspective revealing of Pilate’s Dream and Quinlan’s haunting and potent prayer in Gethsemane.

Musical director William A. Underwood deserves a double dose of praise, first, for the flawless vocals he coaxes from the cast and the rich blending of them, and, second, for the dynamic sound of his six-piece orchestra. And, again, special mention of Funderburg for balancing the sound of the orchestra (which relies heavily on synthesizers) and the onstage (and occasionally offstage) voices.

For those who go looking for a religious experience, this “Jesus Christ Superstar” isn’t it. But for those who appreciate – and crave – exciting and innovative musical theater, a trip to Munster is highly recommended. (***1/2)

(“Jesus Christ Superstar” runs through August 8 at Theatre at the Center, 1040 Ridge, Munster, Ind. 219-836-3255 or 800-511-1552; TheatreAtTheCenter.com.)