Theater Review: Jesus Christ Superstar

Super Superstar for a New Generation
By Lauren Yarger
It's big and glitzy and pulses like a rock concert more than a reverent telling of the story of the last days of Jesus on earth. What's more, Director Des McAnuff's revision of Jesus Christ Superstar, the Andrew Lloyd-Weber/Tim Rice classic heading to Broadway from an acclaimed run at the Stratford Shakespeare Festival, reportedly focused on a love triangle between Jesus, Judas and Mary Magdalene. I was prepared to not like it much.

So imagine my surprise when that triangle didn't seem nearly as sharply angled as had been described and I found myself profoundly moved by a passionate Christ played by a terrific high-belting, rock singing Paul Nolan. Not only that, but having grown up singing the songs along with all the other friends of my generation -- despite the fact that I was an atheist back then -- I really enjoyed these new arrangements which give the score a modern sound and bring the music out of the 70s (Music Direction by Rick Fox). It's much more interesting, say, than the 2000 Broadway revival which I thought was a tired re staging.

In fact, with Robert Brill's metallic, scaffolded set and Paul Tazewell's fabulous costumes that blend biblical fashion with what you might see at a modern dance club, this Superstar should appeal to a new generation. No longer an athesist, and happy to see Jesus on a Broadway stage, I think that's a great thing.

Rice's libretto isn't perfect. It focuses more on Jesus' more human aspects. He spends a lot of time being angry, scared, tired and questioning God's plan. There really isn't any of his teaching included in the story which is told more from the point of view of Judas (Josh Young, who appeared to be suffering from voice strain early on the night I attended, but held on to give a fine performance). The disciple is conflicted between his love for Jesus and his jealousy of him. Here, there's a hint that he might also not like the constant attention he receives from Mary Magdalene (Chilina Kennedy), who does seem attached to the Messiah's hip.

I really didn't see much more than that hint of a triangle, however. There isn't any real indication of a romantic attachment between Mary and Jesus and there definitely isn't any chemistry or sparks between them. In fact Kennedy herself is without much animation period, though I did enjoy "I Don't Know How to Love Him" because it sounded very much like the Helen Reddy version I know so well. We get the feeling that maybe Mary is interested in something more, but Jesus seems unaware. And beyond that hint that Judas might be a little jealous, there's nothing between him and Mary either. (So if you have been avoiding this version because it sounded like Dan Brown ("The DaVinci Code") might have helped revise this show's book, feel free to buy a ticket).

Nolan's carrying of the cross is really moving. It brought to mind Christ's suffering in a real way. McAnuff's vision (given personality with lighting, sound and video design by Howell Binkley, Steve Canyon Kennedy and Sean Nieuwenhuis) also creates a hard-to-watch scourging of Jesus, where there stripes appear one by one (all 39) in red on the set until it is all washed in blood.

Lisa Shriver choreographs modern dance movements -- it looks like "Simon Zealotes" might be performed by your local gospel choir here -- and together all of the elements reinforce the theme that what took place in ancient times has real meaning for today.

McAnuff's vision also takes us to a temple that looks like a dance club, a Jerusalem that reminds us of Times Square with a news ticker announcing the latest scene and an ethereal Calvary where Christ appear to float while on the cross. It might be technical glitz, but it also shows a more-than-human element of Jesus which I liked, especially for a show that often ends with the death of the Messiah on the cross without resurrection. Jesus walks out from the cross out to take his bow with the words "To the Ends of the Earth" emblazoned on the set. I liked it a lot.

Also giving notable performances in the vocally strong cast are Tom Hewitt as Pontius Pilate, Marcus Nance as Caiaphas and Bruce Dow, whose humorous depiction of Herod provides one of the show's few laughs.
Jesus Christ Superstar plays at the Neil Simon Theatre, 250 West 52nd St., NYC. Tickets; 800-745-3000, 877-250-2929.

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-- Not exactly the gospel version
-- Sexual moves
-- Suicide