Jesus Christ Superstar

Fox Theatre

When we took our seats for the opening night of Jesus Christ Superstar there seemed to be more than the usual number of empty seats around us, leading me so speculate on why some opening night regulars had elected to stay home. Was it was the wet weather? Or was it was the simple fact that this 33-year-old show (35 years if you count the original “concept album”) is now so familiar that most folks think they’ve already seen everything it has to offer. In either case, I felt that those who stayed away missed a smart and innovative production that shed new and often revealing light on Andrew Lloyd Webber’s greatest hit.

As it turned out, the reduced attendance was an illusion. While our particular area of the orchestra section was somewhat underpopulated, the house as a whole was a respectable 3200. My conclusions about the superior quality of this production, however, remained unaltered.

This overall look of this tour, which is based on the 2000 New York revival, appears to have been heavily influenced by the dystopian futurism of film directors like Ridley Scott, Alex Proyas and the Wachowski brothers. Peter J. Davison’s set for both productions looks like some sort of decaying urban monument, complete with heroic murals defaced by graffiti. Three massive Romanesque pillars dominate the scene, with a metal catwalk about 15 feet up running the width of the stage. Metal rungs on the pillars enable cast members to clamber up and down as needed. For the scene in the Temple LED stock tickers drop down, flashing prices for familiar companies, products, and even religious figures (stock in Isis, for example, appears to be falling). An even more effective transformation occurs when the scene shifts to Herod’s court and the stage suddenly becomes the set for a Fred Astaire movie, complete with illuminated steps and Herod’s name in lights.

Roger Kirk, who designed costumes for both the revival and the tour, has the Roman officials in uniforms reminiscent of the Nazi SS, soldiers in body armor (complete with helmets and capes), and the Pharisees in black trench coats straight out of The Matrix. Jesus and his disciples are street people, Herod’s flunkies are Hollywood hoofers, and the moneychangers in the Temple are Yuppie stockbrokers.

It may sound gimmicky, but it works beautifully and lends contemporary resonance to the debates about temporal and spiritual power, to say nothing of the suffering of an occupied people. It is, in short, the sort of radical production Scott Miller’s New Line Theatre might have done, had the rights been available.

The cast is excellent, with strong principals and a fluid ensemble that morphs into disciples, rabble or courtiers as needed. Eric Kunze is an impassioned Jesus, alternately reveling in and hating his growing power and influence. Lawrence Clayton is an equally volatile Judas with his own doubts and moments of despair. Sparks fly in the confrontations between the two, which goes a long way towards clarifying Judas’ often-muddy motivation. Natalie Toro is a sympathetic Mary Magdalene and Todd Fournier an appropriately punkish Simon Zealotes.

The Pharisees are a thoroughly creepy bunch, headed by a Mephistophelean Lawson Skala. A veteran of the operatic stage, Skala is a basso profundo with rock-solid low notes and a powerful stage presence. Jeffrey Polk’s Annas is equally effective at the other end of the vocal spectrum. Pilate’s reluctance to act as judge, jury and executioner comes across loud and clear in Stephen Breithaupt’s fine performance and Barry Dennen brings welcome comic relief as Herod. The character is usually done as a campy gay stereotype; here he’s a grouchy film producer complete with white tux and cigarette holder. It’s the last thing you’d expect and it’s very effective.

Kevin Moriarity’s direction is brisk and clean but doesn’t spare the dark side of the story. During “Can We Start Again, Please”, for example, Jesus is repeatedly beaten by storm troopers with truncheons and the 39 lashes are more bloody than usual. Dana Solimando’s adaptation of Anthony Van Laast’s choreography is a smart mix of modern dance and music video-style moves. In fact, this production works so well on so many levels that my only complaint is that, like so many rock-inspired musicals these days, it’s simply too damn loud. I know that Judas and Jesus are in pain, but there’s no reason why I should be.

This brilliantly re-thought production of Jesus Christ Superstar shouldn't be missed. It continues at the Fox through June 6th [2004]; call 314-533-1111 for tickets.

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