Soulful "Superstar" Has Power and Glory

"Jesus Christ, Superstar" 

Lyrics by Tim Rice, music by Andrew Lloyd Webber, musical direction by Matthew Smedal, directed and choreographed by Robert Johanson, scenic design by Campbell Baird, costume design by Gregory J. Poplyk, lighting design by Jack Mehler, sound design by John A. Stone, wig and hair design by Gerard Kelly

 

Cast:

 

Jesus Christ, Nicholas Rodriguez

Judas Iscariot, Delisco

Mary Magdalene, Rona Figueroa

Pontius Pilate, John Hickok

Caiaphas, High Priest, Phillip Lamar Boykin

Annas, Michael Brian Dunn

Priests, Derrick Cobey, Wayne W. Pretlow, Christopher Regan

King Herod, Wayne W. Pretlow

Peter, Colin Donnell

James, Jason Shuffler

John, Constantine Germanacos

Simon, Darryl E. Calmese, Jr.

Andrew, Scott Sussman

Bartholomew, Miles Johnson

Matthew, Christopher Regan

Jude, Kevin Hale

Thomas, Leo Nouhan

Phillip, Derrick Cobey

James the lesser, Byron St. Cyr

Guard, Jayme McDaniel

Ensemble Women, Whitney Avalon, Allison Blackwell, Holly Laurent

Virgin Mary, Shana Carr

Youth Ensemble, Tory Bradlee, Shane Fernando Braz, Tori Cargill, Isabelle Miller, Andrew Murdock

 

Next Show: "Hairspray" – October 24-November 19

Box Office: 978-232-7200 or www.nsmt.org

 

In 1971, a young Tim Rice and Andrew Lloyd Webber reinvented musical theater with their boundary-pushing, pulsating rock opera, "Jesus Christ, Superstar." Thirty-five years later, the North Shore Music Theatre in Beverly, Massachusetts, has reinvented the show itself, softening its musical edges and heightening its humanity, proving that this penetrating and unflinching look at the last seven days in the life of Christ is a musical for all time.

 

Director Robert Johanson and his entire creative team get the mix of reverence, hypocrisy, illumination and anguish just right in this very moving – and at times disturbing – production. They bathe Nicholas Rodriguez as Jesus in a warm glow of light and adoration that both literally and figuratively make him a star among men. Their Apostles and rabble are reminiscent of eager and idealistic flower children. Their priests and politicians are power hungry and paranoid. Each and every character on stage is complex and tormented. The notion that the Son of God may be walking among them is pretty heady stuff for the people of Jerusalem and environs. Their alternating fervor, fawning, frustration and fear are all factors in Christ's ultimate persecution and death.

 

As Jesus, Rodriguez is both earthly and celestial. His manly rage when chasing the beggars and thieves out of "The Temple" is countered by his angelic affection when he heals his children with loving hugs and gentle kisses. His tortured aria, "Gethsemane," is his tour de force. In the hours before Christ's crucifixion, Rodriguez is positively heartbreaking as he wages an inner spiritual wrestling match between his flagging faith in his destiny and his desire to carry out his Father's uncompromising will.

 

Delisco as the traitor Judas Iscariot is no less a superstar in this production. The knowing glances that he and Rodriguez exchange to foreshadow the inevitable betrayal are layered with love, anger, determination and regret. He modulates his powerful rock voice to make "Heaven on Their Minds," "Strange Thing Mystifying," and "Damned for All Time/Blood Money" pragmatic anthems, then later unleashes it full force to ignite the title song, which rocks the house.

 

As Mary Magdalene, Rona Figueroa turns "I Don't Know How to Love Him" into a marvelously soulful blues ballad that reveals a degree of depth that was never apparent in the original pop version. John Hickok as Pontius Pilate is almost sympathetic despite his arrogance as he practically begs Jesus to give him an opportunity to spare his life. And the prancing Wayne W. Pretlow gives a 21^st century hedonistic spa twist to the comically derisive "Herod's Song," although he and his chorus of eunuchs and concubines seemed a bit restrained given the outrageousness of the material.

 

Musical director Matthew Smedal has done a brilliant job making "Superstar's" indelible rock score sound fresh and new. He has softened and slowed the tempo on a number of songs to draw focus to the power of Rice's lyrics. The show's message is further heightened by Johanson's exuberant choreography, which is every bit as insightful as his direction. "Hosanna" is a fluidly executed blend of celebratory revival meeting and ominous foreboding, setting Jesus' ardent followers against Caiaphas and his scheming priests.

 

Sets by Campbell Baird, costumes by Gregory J. Poplyk, and especially lighting by Jack Mehler work in perfect tandem with Johanson's complex vision to raise this very human rock opera to a heavenly plane. The realism of Christ's torture and crucifixion do create moments of discomfort. But, whatever your religious beliefs, this "Superstar" delivers a transcendent experience.

 

PHOTO CREDITS:

 

Nicholas Rodriguez as Jesus with Ensemble

Delisco as Judas

Rona Figueroa as Mary Magdelene

 

Photos by Paul Lyden

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