Review: JESUS CHRIST SUPERSTAR at Coachella Valley Repertory Theatre

Bravo to Maestro Stephen Hulsey and Director Adam Karsten. Brava to Choreographer Karen Sieber. Not one note of the Andrew Lloyd Webber’s brilliant score was wasted, including the Overture. On the bare stage at rise— forecasting the agony of what’s to come--a solo dancer, Anton LaMon, embodies the music, rising from the dust like living sculpture. Ali Simon joins him. Director Adam Karsten achieves the coming to life of Adam, and the creation of Eve. From that point on, syncopated tempo and the ostinato bass of this rock opera propels you through the last seven days of Jesus Christ’s life to his crucifixion, portrayed through the eyes of his betrayer Judas Iscariot.

Rock Opera was a relatively new genre when Jesus Christ Superstar opened on Broadway in October 1971. It was preceded by the rock hit Tommy. Audiences were accustomed to rock concerts and grand opera but not performed as one on the Broadway stage, where musical numbers are interspersed with dialogue. Without a break in the music, some people are not sure when and where to applaud. The Audience (i) was among at CV Rep began several times to show their appreciation for an amazing performance, but the music and action did not stop. Once they realized applause was an interruption, they sat there in stunned, silent awe. That in itself was an experience.

Superstar did not get to Broadway easily. Understandably, a musical that borrows from the Gospels and humanizes Jesus Christ stirred controversy. Backers considered it risky, and without money the show does not go on. However, the creators hatched a marketing strategy that worked. A concept album, released in the UK and the US a year earlier, became very popular. Thus, checkbooks opened.

Every member of the CV Rep cast and Ensemble makes this production forever memorable. I wish there were enough space to call them all out individually.

Christian Byrdsong was born to play Judas. As a singer, his powerful voice and vocal range are impressive. As a singer who can really act, he sells Judas’s conflicted emotions with sympathetic credibility. Anthony Arpino as the totally despicable character Annas successfully contributes to the evil intrigue. The basso profundo to tenor-baritone vocal range of Noah Canales as Caiaphas is startling, dark and sinister. The velvety voice of Emily Kate Decker projects sincere devotion and vulnerability in Mary Magdalene's her two ballads, “I Don’t Know How to Love Him,” and “Can’t We Start Again Please.”

I can imagine Steven Grant Douglas jumping for joy when he heard he was cast as Jesus. The program mentions that he had dreamt of playing the role for 13 years. Dreams can come true when a performer deserves the role as he does. Even a dark musical needs a breather. Jim Bullock (King Herod) and Ensemble provide that comic relief in “King Herod’s Song,” a reminder of the humor in Tim Rice’s great lyrics.

Here are a few directorial and technical coups. Using a platform and the area in front of stage effectively creates two levels. With the cast singing the melody line to the orcestral bass line, every pitch occurs when it’s supposed to. Sam Sherwood's intimate performance of “Pilate’s Dream” was enhanced by his accompanying himself on guitar. Sound effects to suggest the approach of the Roman army has advantages over marching out a troop of extras as I've seen before.. The pile of bodies with outreached arms and the portrayal of the 39 lashes were intensely emotional. Almost-contemporary costuming for most characters and the Ensemble avoids the cliché of white robes. Joshua Adams’ sound design never overpowers the singers. Every word was clear.

How many remember the original 1971 Broadway production? I do. The following year I treated my two pre-teenage children and my mom, who was not a fan of rock music, to the at Universal Amphitheatre production (Los Angeles).

Mom loved it. My now-adult children still talk about it. Eighteen years ago, I took two of my grandchildren to a live performance in the L.A. area. Obviously, those formerly reluctant backers made a great investment.

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