Jesus Christ Superstar

Reviewed by Holly Bartges

Originally, Jesus Christ Superstar was never meant to be staged, performed in concert, but not staged. When the Andrew Lloyd Webber/Tim Rice classic rock opera hit the airwaves in 1971, its magical imagination grabbed hold of humanity’s heart and would not let go, with it’s wanting to be staged growing beyond the creators’ intent. Thirty-six years later it continues to excite, prod, irritate, provoke, and thrill audiences with a modernized depiction of the seven last days in the life of Jesus. Endowed with awards of all kinds, it has played all over the world in record-breaking numbers. Only South Africa banned it for being irreligious.

David Hodel (Jesus) and John Dreher (Judas) take a break from a busy late-afternoon rehearsal in the production of Jesus Christ Superstar.

Ironically, when anything about the life of Jesus is portrayed with any sense of relevance, some scream “irreligious.”

Perhaps when Jesus is taken out of his neat sweet, velvet-lined protective religious box, the relevancy becomes too uncomfortable.

Ovation Players and Main Street Players opened last weekend at the Lakewood Cultural Center with strong lead voices, which this rock musical demands, a colorful cast, intriguing set design, haunting lighting, and the Ovation Players Orchestra under the direction of Mark Yaw grabbing the music by the throat making it their own.

One sweet little gray-haired lady sitting next to me who had never before experienced it, shyly admitted she didn’t know what to expect, but thought there would be more rock, as though she wasn’t sure it was OK to say that out loud. Considering it was written in 1970, and rock, if not in its infancy, was at least in adolescence, the music continues to set my moleculed cells into a happy dance frame of mind. The Ovation Players did not disappoint.

Director Jerry Schell also designed the splendiferous set citing three distinct playing areas across the large stage leaving plenty of room for the large cast to play into a variety of different scenes.

During the Overture montage scenes are depicted in the life of Jesus with sharp black outs in between jolting the senses, widening the eyes.

David Hodel takes on the role of Jesus with a strong golden voice reaching the high notes without causing a squirm, providing a myriad of emotions from compassion, honesty, anger, perception, and agony so important in creating a multidimensional character. Hodel allows his Jesus a full sense of humanity without turning him into a paper doll puffball.

Judas Iscariot comes to life by John Dreher, not as an evil devil possessed keeping him away from human identification, but as a human being with human expectations, disappointed in what he hears and sees. Strong, charismatic, Dreher’s Judas sets himself apart physically and emotionally asking questions thousands silently ask but are afraid to voice for fear of being classified heretical. The questions paint verbal pictures in his songs “Heaven On Their Minds,” “Strange Thing,” “Mystifying,” “Damned for All Time,” and “Superstar.” Judas as a man of his time understands what lies before him, what he can feel, touch, observe. Another realm lies outside his comprehension. He wants a King now. He wants freedom from Roman rule now, only now isn’t what it’s all about. Dreher bows to that character.

Jade Tiller, with her gorgeous strong voice plays Mary Magdalene taking the breath away with her “I Don’t Know How To Love Him” and “Could We Start Again, Please” with Peter and the Men.

Mike Kienker’s deep voice provides the spice Caiaphas needs and wants, sending chills down the spine during the song “This Jesus Must Die” along with the Priests, Annas, the Mob and Conspirators.

Guy Williams plays Pontius Pilot with the right degree of confusion over his dream and antagonistic frustration of having Jesus brought before him, sending him to King Herod.

Always a favorite point in the show, “King Herod’s Song” comes as a welcome comedic break tying into Broadway type lyrics, pointing in the direction of a flaming Gay Queen at the same time cutting to the quick of the face-to-face meeting and political dilemma Herod must worm his way out. Jim Honiotes as Herod does not disappoint. In a gold spangled costume Honiotes gives Herod his due with pointed truth and humorous antics.

The Apostles are played by: Kell Archeluta, Nick DeWitt, Matt Kok, Sam Kok, Kevin Martinez, Kalen Meine, Jonathan Pagaduan, Justin Roome, Craig Shimek, and Xan Christopherson as Peter, and Tyler Christopherson as Simon Zealotes. Especially during the Last Supper wonderfully set across the front of the stage, the characters want a little more definition, leaving one to wonder if they are aware of exactly what they are doing. With a large cast there is the tendency for an inexperienced actor to think they aren’t being noticed when in fact, the slightest sign of disinterest telegraphs to the audience like a laser beam. During the last Supper Song with grinding dialogue between Jesus and Judas and the Apostles, a few of them appear to be going through motions, leaving emotions backstage. Facial and physical expressions are crucial, and a blank look stands out. The characters and involvement are vital to the moment at hand. Even though the Apostles are caught in their own ego web, of wanting to be remembered when they die, they are more than actors onstage in costume singing lyrics.

The large 44 cast members, with some playing double roles, are young for the most part, and some appear to be caught up in being on stage dancing and singing without giving much thought to who they are depicting and why. This generally comes across during the large numbers. In spite of their lack of experience, this cast has what is required. The just need to be told they have it, believe it, and grab their characters by the throat wearing them in full regalia.

Speaking of wearing, the costumes designed by Cindy Franke appear to be a little haphazard. Modern dress, yes. That after all is the point to some extent. Mary wears a long shiny dress which is OK, but the spangled glittered shawl she wears makes her look like an East Colfax street walker throwing her out of context completely. A more subdued shawl would add to her credibility, which she deserves as a principle player in the seven-day scenario.

When Judas meets with Caiaphas and Annus, the later two are dressed in strange black outfits that look more like Darth Vader wannabees than officials. I confess. I found their cloak and dagger outfits distracting while attempting to figure out the symbolism.

Over all, the costuming is a little confusing mixing contemporary with traditional. The look wants a little more coordination. Jesus’ white gown looks more like a bathrobe than it does a costume looking out of place in the modern stylized setting. I appreciate the wanting to set him apart. With Judas in jeans, a red shirt and black vest, which are striking, calls for more modernized Jesus attire.

The dancers accompanying Herod during his fabulous outrageous song dressed in short white skirts are delightful, adding to Herod’s flamboyancy. The girls are into the dance and into character. Judas dressed in white during Superstar along with the Soul Girls and Girls Choir is wonderful standing in juxtaposition to the previous Judas point of view.

This production has some fine dancers, but Linda Elliot’s choreography doesn’t always seem to match their ability. Some of the simplified choreography flags uninspired and uncreative. Consequently, the dancers don’t always seem to know if they should attack the dancing with punch or just float through the steps. This could well be where my little gray haired lady-seating companion got the idea of expecting more rock. The basic choreography fails to give rock impact. The dancers have it. I could see it in their movements and in their faces. They just need to know it is perfectly OK to dance to classic rock music like they do at home in the sanctuary of their bedrooms. Sexy? Sure. That’s OK. Jesus Christ Superstar is a rock opera, a contemporary rock opera, and there’s nothing wrong with sexy.

All of the songs want and demand a firm strong first note. In some of the songs, it takes the cast a couple of bars to get into it, namely “What’s The Buzz,” “Hosanna,” “Strange Thing Mystifying,” and “Everything’s Alright.” There were a couple of times I wanted to halt the production reminding the cast they have it, believe it; “now could we start again please” hitting the songs with punch, strong notes and strong voices.

Inexperienced some of them might be, but this cast is highly endowed with talent. It’s rock opera and rock doesn’t apologize to anyone for anything and doesn’t need to, and neither does this cast.\

Is Jesus Christ Superstar worth seeing? Absolutely. Does it still create vital observations and questions? No question. Does it still beg for meaningful dialogue wanting to stretch the imagination? Definitely. Call early for reservations, but go. Take the family. Take a friend. Take someone who has never heard it. Compare notes. Ask questions, letting the music seep deep within the soul. The run unfortunately is short at the Lakewood Cultural Center. Just go.

Hopefully The Ovation Players and Main Street Players will continue their stunning liaison for future productions.