Thirty years after it changed the course of rock musicals forever, it's still easy for most Baby Boomers to recall the opening lines of the show's title tune: "Jeeeeesus Christ! Suuuuuuperstar!" That says a lot about the staying power of Jesus Christ Superstar.
Creators Andrew Lloyd Webber and Tim Rice were still youngsters at the time they wrote this show, and youthful energy pours forth from this production. Straightforward in its approach, Superstar brings us the man, not the myth. This Jesus is scared, depressed, fiery, passionate and tired. He is weary of providing for his followers' spiritual needs. He is drawn both spiritually (and perhaps physically) to a young prostitute. Lloyd Webber wanted to create a Jesus that is easily identifiable, particularly to younger, "anti-establishment" viewers. The current production fills the bill. Its joy spills forth with beautiful "multitudes," who perform well-executed dance moves and have lovely voices.
Although Lawrence Clayton (Judas) and Eric Kunze (Jesus) aren't exactly household names, both men pull this musical together with style and a manly grace. Kunze, as Jesus, is initially seen as a mellow type of guy. He gently ponders on the current state of affairs. Later, his voice rises in anger at the sight of "stockbrokers" on the temple steps. One can hardly believe such a powerful voice exists in this man's lean, lanky frame. While he never manages to "call down the wrath of God," this Jesus has a few nice moves of his own. Judas, on the other hand, comes on strong from the beginning. As he plays out his role of the ultimate traitor, Judas wonders aloud at the injustice of his situation. Clayton, who also sings superbly, draws more sympathy for this character than one would expect.
Although this is billed as a "new" production, some of the original elements that made Jesus Christ Superstar so powerful thankfully remain. One of these is the pulsating, hard rock score. The electric guitar-driven music fairly reverberates off the backstage wall. When it finally dies down, this allows a hush to fall over the audience during Mary Magdalene's softly sung ballad, "I Don't Know How to Love Him." As Mary, Natalie Toro offers a top-notch dramatic performance that is matched by her stellar vocal power. It's unfortunate that "...Love Him" is her only solo number, as the audience probably would have loved to hear more of her fine singing.
The production has a contemporary feel. It draws on set design elements from Rent and Les Miserables (mainly, the second-story "bridge"). The vivid painted backdrop, depicting graffiti, blood and abstract military figures, also could be transported from Rent or, perhaps more appropriately, to Miss Saigon (another Lloyd Webber show). Amusingly, the Apostles and other followers all look as though they were hired from the pages of an Abercrombie and Fitch catalogue. They are a gorgeous bunch and, boy, can they dance! This is the tightest choreography this reviewer has seen in quite a while. The dance numbers are all showstoppers. Also noteworthy is the Act II number, "King Herod's Song," trilled by a droll and dapper Barry Dennen.
The show's other memorable song is the 11th-hour "Superstar." This is indeed worth waiting for, as the song is sung by Judas (back from the grave, apparently) and three "soul girls." The "girls" are dressed in slick red vinyl miniskirts, matching "mod" hats and high-heeled boots. They make a delicious mockery of Jesus as he struggles with the cross. After all the visual tricks and treats, the crucifixion scene is treated more respectfully than one would imagine. As Christ utters his final words and then is lowered from the cross, it is indeed a touching moment.
