JESUS CHRIST SUPERSTAR, now on stage at the Connor Palace as part of the Key Bank Series, is a show with a history of controversy. It has been condemned by some religious groups, as well as sectarians.
Some of the controversy is based on comments made by the script’s lyricist, Tim Rice, who said, “It happens that we don't see Christ as God but simply the right man at the right time at the right place.”
Some Christians cried out that the comment was blasphemous and went on to complain that the characterization of Judas was too sympathetic, and that Jesus was misinterpreted. The lack of resurrection of Jesus was also a point of contention as was the insertion of contemporary attitudes, slang and illusions to modern day life.
Jewish organizations claimed that some of the illusions bolstered antisemitism. Agnostics and atheists declared that it was religious propaganda, and it was banned in South Africa for being irreligious.
What’s the controversy about? JCSuperstar is a rock opera with music by Andrew Lloyd Webber with lyrics by Tim Rice. It is loosely based on “the Gospels’ account of the Passion.” It “adds a texture above the religious text by examining the motives and psychological underpinnings of not only Jesus, but of Judas, who it spotlights acted as he did because he was dissatisfied with the direction Jesus was steering his disciples, and not for the gold he was given.
The score is eclectic and powerful. It is 80’s rock at its finest. The score includes such classics as “Everything’s Alright,” “Hosanna,” “I Don’t Know How to Love him,” and, “Superstar,” as well as the showstopping, “What’s the Buzz.”
Released as a concept album, before it was staged, it was already a hit before it hit the theatrical boards. When it finally opened, it ran for eight years in London and was the longest-running show for almost a decade.
In 2016, celebrating 45 years since the musical debuted on Broadway, JESUS CHRIST SUPERSTAR returned to London. As a further tribute to the show, a 50th anniversary tour edition, based on the London revival, was mounted. It is this reconceived show that is now in CLE, after an opening and then an elongated delay.
In March, 2020, after performing two shows of a planned three-week run at Playhouse Square, the effect of COVID-19 pandemic hit. The show, as was true with Broadway shows and all national touring productions, was closed! Eighteen months later, it is back to audiences with their proof of vaccinations and the wearing of masks.
No matter one’s religious beliefs, or lack of them, looking at the show from the standpoint of the musical score and the potential staging effects, there is much to admire.
Having seen the original staging in the early 1970 and many touring productions, I have usually left the theatre with an emotional hangover. Unfortunately, though admiring much of it, I found this edition to beoverdone and over-loud, stressing abundance over story telling.
This is not a rock concert, it is a theatrical production, and hearing the lyrics that carry the meaning is paramount. Often the band and orchestra, for this production there were 22 local string players added to the usual 11 musicians, overpowered the superb voices of the singers. (As the woman sitting behind me loudly whispered, “I wish I could hear the words.”)
The crucifixion, the cumulation of the production, dragged on and on, leaving the audience minus the passionate grip that the scene should evoke.
The staging is often breath taking. The viewer is wrapped in stimulating lighting and exciting visual displays. The question is, “Is this a story that is being told or a sound and light show?”
Aaron LaVigne effectively underplayed the role of Jesus. Omar Lopez-Cepero left a clear image of a philosophically tortured Judas. Tommy McDowell was impressive as Peter. The entire cast had strong singing voices and carried out the complicated choreography with ease.
Capsule judgment: JC SUPERSTAR, 50th anniversary edition, is a spectacle that will leave some with the reaction that it is overdone, overly loud, stressing abundance over story telling. This is not to say the audience will not marvel at the show. They will leave talking about the grandeur of what they have seen and heard. The question is, did they see a sound and light show or an epic musical that effectively told its story?
Some of the controversy is based on comments made by the script’s lyricist, Tim Rice, who said, “It happens that we don't see Christ as God but simply the right man at the right time at the right place.”
Some Christians cried out that the comment was blasphemous and went on to complain that the characterization of Judas was too sympathetic, and that Jesus was misinterpreted. The lack of resurrection of Jesus was also a point of contention as was the insertion of contemporary attitudes, slang and illusions to modern day life.
Jewish organizations claimed that some of the illusions bolstered antisemitism. Agnostics and atheists declared that it was religious propaganda, and it was banned in South Africa for being irreligious.
What’s the controversy about? JCSuperstar is a rock opera with music by Andrew Lloyd Webber with lyrics by Tim Rice. It is loosely based on “the Gospels’ account of the Passion.” It “adds a texture above the religious text by examining the motives and psychological underpinnings of not only Jesus, but of Judas, who it spotlights acted as he did because he was dissatisfied with the direction Jesus was steering his disciples, and not for the gold he was given.
The score is eclectic and powerful. It is 80’s rock at its finest. The score includes such classics as “Everything’s Alright,” “Hosanna,” “I Don’t Know How to Love him,” and, “Superstar,” as well as the showstopping, “What’s the Buzz.”
Released as a concept album, before it was staged, it was already a hit before it hit the theatrical boards. When it finally opened, it ran for eight years in London and was the longest-running show for almost a decade.
In 2016, celebrating 45 years since the musical debuted on Broadway, JESUS CHRIST SUPERSTAR returned to London. As a further tribute to the show, a 50th anniversary tour edition, based on the London revival, was mounted. It is this reconceived show that is now in CLE, after an opening and then an elongated delay.
In March, 2020, after performing two shows of a planned three-week run at Playhouse Square, the effect of COVID-19 pandemic hit. The show, as was true with Broadway shows and all national touring productions, was closed! Eighteen months later, it is back to audiences with their proof of vaccinations and the wearing of masks.
No matter one’s religious beliefs, or lack of them, looking at the show from the standpoint of the musical score and the potential staging effects, there is much to admire.
Having seen the original staging in the early 1970 and many touring productions, I have usually left the theatre with an emotional hangover. Unfortunately, though admiring much of it, I found this edition to beoverdone and over-loud, stressing abundance over story telling.
This is not a rock concert, it is a theatrical production, and hearing the lyrics that carry the meaning is paramount. Often the band and orchestra, for this production there were 22 local string players added to the usual 11 musicians, overpowered the superb voices of the singers. (As the woman sitting behind me loudly whispered, “I wish I could hear the words.”)
The crucifixion, the cumulation of the production, dragged on and on, leaving the audience minus the passionate grip that the scene should evoke.
The staging is often breath taking. The viewer is wrapped in stimulating lighting and exciting visual displays. The question is, “Is this a story that is being told or a sound and light show?”
Aaron LaVigne effectively underplayed the role of Jesus. Omar Lopez-Cepero left a clear image of a philosophically tortured Judas. Tommy McDowell was impressive as Peter. The entire cast had strong singing voices and carried out the complicated choreography with ease.
Capsule judgment: JC SUPERSTAR, 50th anniversary edition, is a spectacle that will leave some with the reaction that it is overdone, overly loud, stressing abundance over story telling. This is not to say the audience will not marvel at the show. They will leave talking about the grandeur of what they have seen and heard. The question is, did they see a sound and light show or an epic musical that effectively told its story?
Tickets for JESUS CHRIST SUPERSTAR can be obtained by calling 216-640-8800 or going on-line to https://www.playhousesquare.org/
