MANCHESTER, NH – When the film version of “Jesus Christ Superstar” came out in 1973 I was entrenched in my Presbyterian church’s youth group. We sang all the songs with gusto, and we went to see the movie together. It was the same year that “Godspell” came out as a movie and just two years before the Who’s “Tommy” hit the big screen.
All of this is to day that I am of a generation that loves its rock operas and rock’n’roll religion.
So naturally I couldn’t wait to see the Palace Theatre’s production of JCS – which opened on a weekend when I was out of town, so I actually did have to wait. But it was worth the wait – and I urge you to get a ticket to one of the last nine shows before closing night on May 11.
Here’s are a few things that struck me as I thought about the Palace production:
Although I can sing almost every lyric of every song, I never thought about the fact that there is no dialogue. And because I know the cinematic version so well, I totally get the plot. Even if you were only a marginal Sunday school student, you should probably understand the immediate tension between Judas and Jesus. However, if you skipped catechism or never had a chance to review the plot of the Gospels as described in the New Testament, then you might want to do a little research before you go.
The opening number, “Heaven on Their Minds,” begins with a familiar four-note guitar progression that leads right into soaring vocals by Judas (Kevin W. Egan) who is basically pleading to Jesus to be careful as his popularity with the people expands – and suspicion among the pharisees does, as well.
Before Superstar was a movie or a Broadway play it was an album; it’s totally driven by the music. That’s why the decision by Artistic Director Carl Rajotte to have musicians perform on stage alongside the actors is such a brilliant addition to the show.
Other stand-out songs many fans of the show will recognize are “What’s the Buzz,” “Everything’s Alright,” “Hosanna,” and “I Don’t Know How to Love Him.” In terms of the production – between the staging, casting, music and sound – this show for me was a 10 out of 10. Each character brought the right amount of passion and emotion to their roles, and the supporting ensemble cast members took advantage of the entire stage, letting loose with each dance number. Special shout out to the Soul Sisters – Gia Mae Chessa, Nakiiya Coleman and Sabrina Acosta.
Throughout the show I couldn’t help but notice the couple seated in front of me, who were animated – singing along and, at times, holding on to one another’s hands during particularly dramatic moments. After the show I realized it was actually people I knew – Sarah and Benge Ambrogi. “We love this show,” said Sarah. “We know every word,” she added, brushing a stray tear from her check.
I was right there with them – anyone who grew up listening to this album will have a similar reaction to the show, as it is a fresh take on a familiar soundtrack going back some 44 years. Back then, when the show opened on Broadway, there were some who questioned the portrayal of the three main characters – Jesus, Judas and Mary Magdalene, and the spirit of the show. Some felt Jesus registered as a bit too defeated to be the Son of God; Judas turned out to feel too sympathetic to some – although if you follow the lyrics, you understand that Judas felt that he was the one betrayed, because without his betrayal of Christ, there would be no Christ or basis for Christianity. And the relationship between Jesus and Mary Magdalene, said to be historically one of the many followers of Christ, who some critics felt was portrayed as a little too cozy with the Savior.
That is all neither here nor there. We’re talking about art and a loose interpretation of Biblical text meant to invite a generation that might otherwise have skipped God to fold the sacred soundtrack of the passion of Christ into their rock’n’roll repertoire. Many record album collections – including my own – featured Superstar right alongside Led Zeppelin, Genesis, James Taylor and the Grateful Dead.
Every performer had a shining moment – for Sam Harvey, portraying Jesus, his rendition of “Gethsemane” in Act II brought all the feels. Jenelle Catherina as Mary Magdalene was equal parts powerwasher and tear-jerker, particularly in the classic “I Don’t Know How to Love Him.” I think I actually heard someone behind me gasp as she hit a particularly powerful note.
I thought for a while after the show about Rajotte’s decision to use hand-held microphones rather than headsets, which have become the norm. I did not ask him about it and, in the end, decided it was a nod to the retro rock-opera sensibility of this period show and concluded that it was a valid artistic choice.
And just as with the movie version, King Herod, portrayed by Ge Enrique, was a menacing evil clown with a side-car of Elton John, as noted in the giant letters above his piano station. Also rounding out the main cast with engaging performances, all – King Herod (Evan Lazdowski) Caiaphas (Evan Lazdowski), Donny Nikola as Simon Zealotes – who also played a mean guitar, and Jake Tome Rotz, as Peter.
Jesus Chris Superstar continues through May 11. Tickets are available here.