Review: JESUS CHRIST SUPERSTAR Presented Up Close and Personal at the Long Beach Playhouse

A global phenomenon that has wowed audiences for over 40 years, JESUS CHRIST SUPERSTAR is a timeless work set against the backdrop of an extraordinary and universally-known series of events but seen, unusually, through the eyes of Judas Iscariot. Performed on the intimate thrust stage with no scenery other than a long, thin center platform at the Long Beach Playhouse, the actors enter and exit in many places throughout the audience, often creating a surround sound experience not available on a proscenium stage. This makes it very easy to feel you are a part of the production and biblical history itself. No doubt the effect is thanks to sound designer Larry Mura working with the new system put in place for this production.

Young and charismatic Scott Roberts portrays Jesus as a man who knows what is going to happen to him during the last week of his life. Resigned to the role he knows he must play, Roberts embodies Jesus as he runs the gamut of emotions from his loving concern for Mary (Latonya Kitchen), understanding and anger as his disciplines he knows will betray him, and the overwhelming responsibility he feels to all of his followers who believe in him. Even more amazingly, as he is led in by the ensemble carrying palm fronds, Roberts' face beamed with an other-worldly glow as if basking in a light from heaven. His mystical presence and internal struggles are exceedingly apparent as his anger mounts with each twist and turn working against him. And he can wail just like Steven Tyler - perfect for this rock musical.

Most of the supporting actors were wonderful in their role interpretations. Lorne Stevenson plays the guilt-ridden Judas perfectly, often sitting on stairs in the audience, reacting emotionally as Jesus suffers because of him. Stevenson struggled with his voice a bit, but no matter. With all the angst going on for him, every crack in his voice seemed to deeply express Judas' internal anguish.

Matt Roberts and Stephen Alan Carver portray Caiaphas and Annas, the local Jewish leaders who push Judas to betray Jesus by offering his money. Their harmony is exquisite as is there menacing authority. It is easy to see why Judas would go along with their scheme.

Bob Cory lends real power to Pilate, his cunning authority apparent with each evil smirk and flowing flip of his red cape. And just when you need it, there is great comic relief with an entertaining vaudeville number by Greg Nicholas as Herod with his chorus line of ladies in the ensemble.

When Herod sends Jesus back to Pilate, the resulting whipping scene is brutal, handled with such realism that you can almost feel each of the 39 whip cracks striking Jesus on his back thanks to the perfect timing of each loud crack with Roberts painful reaction to the blows. As Jesus' suffering mounts, Cory certainly lets us see that Pilate hates what he is doing but is unable to stop it in order to save face with those watching. So intense is the action, you will wish you could jump out of your seat to stop it. It's brilliant staging at its best thanks to director Andrew Vonderschmitt, music director Andy Zacharias, and choreographer Kysa Cohen. And although her ensemble choreography seems a bit on the rudimentary scale at times, it still works well for creating the overwhelming devotion his followers feel for Jesus.

Vionderschmitt shares his vision for the production: "In this interpretation, Rice and Webber have taken Jesus off the stained glass window and thrust him into the street with the rest of us. These are not good or bad people, they are just people caught up in incredible circumstances, trying to do what they believe is right. It's a story about people, love, forgiveness and acceptance."

Along with the onstage band who plays non-stop throughout the show, the entire cast is to be commended for their ability to convey this remarkable tale without having to speak one word of explanation. Weber and Rice allow the music to say it all.

And kudos to lighting designer Elie Siegel who has managed to light many areas of the audience walkways, entrances and exits so that our focus is directed to the most important aspects of the emotions and actions of each scene.

JESUS CHRIST SUPERSTAR continues through August 15 with performances at 8 p.m. Friday and Saturday, and 2 p.m. Sunday at the Long Beach Playhouse, located at 5021 E. Anaheim St., Long Beach, CA, 90804. The box office is open Wednesday-Saturday from 3:00-8:00 pm and Sundays from 1:00-2:00 pm on scheduled matinees. Adults are $24.00, seniors $21.00, and Students $14.00. Tickets are available at www.lbplayhouse.org, or by calling 562-494-1014, option 1.

Photo credit: Michael Hardy Photography

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