Review: Jesus Christ Superstar 50th Anniversary Revival Shines Hard

tomtidgewellNovember 10, 2022

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In a glittering revival on the Jubilee Auditorium stage, jesus christ superstar A reminder of why this musical, and its creators Andrew Lloyd Webber and Tim Rice, remains a supernova in the world of musical theater.

First born as a concept album by its creators in 1970, the 1971 musical has been heavily promoted on its 50th anniversary tour, and its story is loosely based on gospel account of suffering. It’s also a nostalgic experience (probably many in his 50+ audience could have recite his I Don’t Know How To Love Him) rock aura, power and politics in the late ’60s. It reflects the timeless and exciting research on and human weakness.

A 90-minute rock opera (no intermission) that starts fast and hard and doesn’t end until late in the show. Early stage of production. Yet the opening “Heaven On Their Minds,” sung by Judas (Elvie Ellis) in a dark hoodie, is not about Christ the Savior, but about those around him who fear Christ the Destroyer. Immediately remind your audience that you are talking. This musical belongs in many ways to Judas, who loves the leader, but thinks he’s on a destructive path. (Watch Judas’ hand turn silver as the traitor plunges into the money trunk).

Directed by Timothy Schader, the Olivier Award-winning production premiered in London in 2016 before traveling to the United States and Canada for an extensive tour. Presenting the musical—Lloyd Webber and Rice’s first breakout his hit—as a concert his performance, returning the superstar to its concept his album roots. The cast is equipped with guitars and hand-microphones, the latter prop sometimes being attached to the top of the scepter when wielded by someone like the low-voiced Caiaphas (Isaac Riquegem), or being backed up by three people. Soul singers (excellent Lydia Ek, Savannah Fisher, L’Oreal Roach).

The dynamic dance ensemble choreography by Drew McConney is strikingly kinetic with an almost industrial, gear-like flair. Featured dancer Caroline Perry, dubbed Mobreeder on the program, is frenzied and busted.

The two-tier set (based on an original design by Tom Scutt) has a similarly edgy feel. Center stage has a crucifix, slanted like a ramp to facilitate entry and exit, and consists of a lattice material that exhales smoke from an underground source. Costumes (also by his Scutt) see the cast in neutral-toned drapes and layered clothing. It’s a clever mix of ancient bible and modern streetwear.

Jesus Christ himself (Jack Hopewell), a meager figure in drooping jeggings and man buns, is more yoga instructor than mighty prophet. This rock his opera portrays Christ as an ordinary human being at the center of an extraordinary situation, but it still takes too long for Hopewell to pay attention to his character. His piercing tenor is sometimes too tentative (which may be more of a technical issue than a creative failure), but he does it in the heartbreaking versions of The Last Supper and Gethsemane. It’s all put together. Lee Curran’s lighting design is nowhere near as captivating as when the stage swirls with searchlights as Christ turns to God in Gethsemane and asks that his death not be in vain.

“After that I was inspired, but now I’m sad and tired.

Listen, I certainly exceeded expectations.

After three years, I feel like I’m 30.

Can you ask another man to do the same? “

Jack Hopewell, Center, and cast of Jesus Christ Superstars on Broadway Across Canada. Photo by Hannah Wallace /attached

Other highlights include Herod’s Song, the King’s insanely kitsch ragtime number. Erich W. Schreck is clad in a voluminous gilt cloak and surrounded by clown-collared royal minions.

Another central figure in this passion story is Mary Magdelane (Faith Jones). A soothing voice and a balancing force, she performs a haunting duet with Peter (Colin Robertson) in a moving rendition of Could We Start Again Please.

Jesus Christ Superstar held the record for the longest-running show in London’s West End between 1972 and 1980, but was surpassed in 1989 by another Lloyd Webber hit, Cats. was kicked out of As the musical theater artist’s first hit work and impresario’s brilliant career (he and Rice wrote Joseph and Amazing His Technicolor His Dreamcoat before Superstar, but that didn’t matter until after Superstar). was not), Locke’s operas are not just part of the history of the theater. A reminder of why the musical theater genre is so powerful and enduring. Nothing touches the heart like the combination of a touching story and a great song. The Jesus Christ Superstar was and always will be both.