Can a musical play — a rock opera, in fact — continue to be
relevant more than 45 years after its debut? “The Sound of Music” and even “The
Music Man” come to mind as stage and screen musicals that have stood the test
of time, but can “Jesus Christ Superstar,” an altogether different kind of play
that blazed trails in the 1970s, keep its modern edge?
Director Joe Calarco’s new production of “Superstar” at Signature
Theatre in Arlington keeps the ’70s rock styling, including electric guitar
riffs, while updating costumes and imagery.
The play follows the events of Holy Week, based loosely on the
Gospels. The Apostles are the ensemble in this troupe, and the characters are
mostly one-dimensional.
Of course, the play focuses on Jesus (played by Nicholas
Edwards), but Judas (Ari McKay Wilford) is a secondary protagonist, as is Mary
Magdelene (Natascia Diaz). When one looks at the events of the final week
before Jesus’ betrayal and Crucifixion through the eyes of His betrayer, the
Scriptures end up a little skewed.
As the play opens, we see Judas warning Jesus that His followers
are getting out of hand with “Too Much Heaven on Their Minds.” The disciples
are seen as mesmerized by Jesus’ teaching — and fame — and Judas, who was the
purse-keeper for the Apostles, constantly reminds Jesus that they should be helping
the poor or saving Israel from the Romans; both at the same time, if possible.
The Jesus portrayed in the music and lyrics of Andrew Lloyd
Webber and Tim Rice emphasizes the human side of the God who became man. So, we
see Christ’s conflicted side as He deals with the pressing crowds and demands
on Him to be a political savior of the Jews. In one of the rare events that
occurs in all three synoptic Gospels as well as in the Gospel of John, Jesus
shows righteous anger in throwing out the money changers. “My temple should be
a house of prayer,” Jesus sings/wails, “but you have made it a den of thieves.
Get out!”
Scholars debate whether Judas betrayed Jesus because he was
greedy, or he was disappointed Jesus would not save the Jews from the Romans,
or whether he was predestined to do so in order for Jesus’ death and
resurrection to provide salvation for all.
“Superstar” largely falls in the latter camp, making Judas a
sympathetic character with no choice but to betray his teacher and friend,
despite his love for Jesus. Willford brings this to the stage brilliantly, with
a robust voice and a deeply pained portrayal.
Edwards is equally forceful as Jesus, whose torment in the Garden
of Gethsemane brings to full circle Jesus’ human and divine natures, where he
asks not to “take this cup of poison,” but assents to the will of the Father.
Diaz’ rendition of “I Don’t Know How to Love Him,” is perhaps the
finest interpretation of this piece this reviewer has ever seen. Though the
play tends to emphasize a conjectured relationship between Jesus and Mary
Magdelene (cue Dan Brown and The DaVinci Code),
Diaz captures perfectly the confusion within Mary. She acknowledges that He is
unlike any man she has ever known — rightfully so — and admits, “Yet, if He
said he loves me, I’d be lost. I’d be frightened.” But Jesus does not say this —
other than the love He has for His close friends and followers. And Mary
remains a little disoriented as a result.
Bobby Smith nails the role of Pontius Pilate, especially with
“Pilate’s Dream.” Not so for Thomas Adrian Simpson as Caiaphas, who seems to
strain physically and vocally to reach the bottom parts of the bass register.
Sam Ludwig, appropriately annoying as another high priest, Annas, rounds out
the villains.
Calarco rounds out his cast with folks who take on multiple roles
as Apostles, members of the crowd and Roman soldiers, including females in the
mix of Apostles. Together their voices blend well and their exuberant dancing,
choreographed by Karma Camp, brings to life the simple stage, designed by
Luciana Stecconi.
One of the earliest ensemble numbers, “What’s the Buzz,” was
incredibly hip in the early 1970s. It seems the most dated song in the show,
but it’s retro enough to still work.
During the final scenes, images are displayed on side screens,
which double as doorways. The occasionally graphic scenes depict protesters
such as Nazis, the Ku Klux Klan, members of the Westboro Baptist Church, and
peaceful pro-life protests, as well as a shot of the World Trade Center in New York
on 9/11. If the director’s intent is to show that Christianity (and other
religions) can take their teachings to extreme, it misses the mark. If
anything, the images of the pro-life groups do not belong, as the others all
show the dangers of taking politicized religion not just to the extreme but
beyond it. This is the same philosophy embodied by Simon Zealotes in
“Superstar,” and is exactly what Jesus preached against when He said His
kingdom was not of this world.
Oddly, the composers called the music written for the curtain
call “John Nineteen: Forty-One,” a reference to Jesus being laid in the tomb.
But it really harkens to John, Chapter 20, as the Jesus seen here is risen, out
of the tomb.
Because of the graphic nature of some of the scenes and the mash-up
of Scripture, “Jesus Christ Superstar” is not recommended for young children.
Mature teens may be able to handle it, especially if it prompts family
discussion about the themes.
Overall, this production — on the minimalist stage in
three-quarters round in Signature’s Max Theatre — is a fine revival of one of
the iconic rock musicals in American theater, bolstered by strong vocal and
acting performances. “Jesus Christ Superstar” plays through July 2.
Christopher, a freelancer from Arlington, has been
involved in musical theater since high school.