By Jennifer Mustoe
Shining onstage is the 50th anniversary revival of the Broadway blockbuster Jesus Christ Superstar at the beautiful Eccles Theater in Salt Lake City–and you really don’t want to miss this one. Superstar follows the key days before Christ was crucified. Director Timothy Sheader has taken Tim Rice‘s lyrics and Andrew Lloyd Webber’s music and made an already stellar musical cascade into a deeper, more glittering, heart-rending production that I saw twice–opening night and the night after.
Yes, I went to see Jesus Christ Superstar twice and that isn’t something I do regularly. I was so dazzled, touched, moved by what I saw onstage and what I thought some of the themes, symbolism, and metaphors are, I needed to see it again. And I’m so glad I did.
Be aware: Jesus Christ Superstar is a rock opera. Rock meaning lots of guitar, sounding somewhat to me like the band Queen. Produced in 1971, JCS is clearly evocative of the “hard rock” style popular in the the 60s and beyond. It also has no dialogue, as is the form in opera. (It also has no intermission, so plan accordingly. It runs 90 minutes.) In reading about the show, lyricist Rice said he didn’t consider Christ was a Savior–He really was “just a man”–a phrase that is repeated through the show. Well, that may be his perception, but this believer found plenty to increase my understanding of Christ, feel a great amount of spiritual emotion, and experience a deeper understanding of my religious belief. And many people here in Utah who belong to the predominant religion here (of which I am a member) may feel that JCS is irreverent or sacrilegious. I hope not. This is a show written as if Judas wrote his version of what happened, much like Matthew, Mark, Luke, and John did. What would Judas say?
Aaron LaVigne as Jesus and Omar Lopez-Ceperg as Judas are stunning. We know how this ends–Judas betrays his friend. But the friendship we see is real, and Judas’ lack of understanding of who Christ is and what His mission is brings this story such a poignant and tragic message. In fact, all through the show, Jesus knows what He is about to do and why, but none of His Apostles really get it. (And honestly, do I get it? I’m wondering if any of us do.) Judas is really “just a man” and thinks logically about how things should go. He is, ironically, a sympathetic character and again, I’m good with that. Why would Jesus, who Christians believe knew/knows all, keep Judas in His group of 12 Apostles though He knew that Judas was an “enemy”? This question is touched on in the show and left to the audience members to mull over. And mull I still do. LaVigne is beautifully nuanced. And because I saw the show twice, I can attest that each production is different–the mark of a true professional. Opening night, he sang resignedly, “with a kiss” about how Judas identifies Him to the High Priests. The next night, he delivered the line in almost a mocking, speaking tone, “With…a kiss.” -Dry laugh.- Brilliant. Lopez-Ceperg is deep, dark, misunderstood, angry, and then guilty, devastated, destroyed. Not an easy task to show, but Lopez-Ceperg does so while shrieking into the mic. It’s affecting.
Jenna Rubaii as Mary Magdelene brings the only female character into a lovely, loving sphere needed in such a male-heavy show. Her voice lilts and the caring relationship she has with Jesus, and also with Peter (Tommy McDowell) is beautiful, strong, confident, and perfect. McDowell is an innocent who just loves his Master, but does deny Him thrice. And then–believes even stronger.
Alvin Crawford‘s deep-voiced Caiaphas plays a strong role in what happens to Jesus, and I loved to hate him. One of the lyrics I love: “One thing I’ll say for him — Jesus is cool” in “Jesus Must Die” is slightly lost, but I knew to listen for it.* Tyce Green‘s Annas (one of High Priest murderers group) uses his deliciously spite-filled sneering voice to crush Christ with every note. Did I love his message? No. Did I think he nailed it as a performer? One-hundred percent. Pilate (Tommy Sherlock), bedecked in Goth black, is one of my favorite characters. Pilate is conflicted–he doesn’t want to be blamed for killing an innocent man. But Jesus won’t defend Himself. Sherlock brings this inner conflict front and center and it’s very effective. Herod, played by Paul Louis Lessard, dazzles in black and shiny gold, mocking Christ in the only “funny” song in the show. It brings levity to such a deep and often dark piece. But let’s face it–Lessard cuts and slices as Herod, even as he twinkles in sequined knee-high boots.
The music, with its extensive rock band instruments and glorious singers, rings through the beautiful Eccles Theater, but while you think it may be way too loud–it is not. I’m sensitive to loud noises, but I was simply swept away with all of the sound, melodies, harmonies, sweet ballads, harsh cutting jabs of music. Music Director/Conductor Shawn Gough takes a rock concert and makes it a symphony of singers, musicians, and beauty.
Some other aspects I needed to get a second look at. Glitter is synonymous with rock culture. But as it’s used in Jesus Christ Superstar, all that glitters is definitely not gold or good. No, it represents sin. Glitter is thrown through the scene “The Temple”, signifying the desecration of the Temple. After “Gethsemane” Jesus is covered head to foot with glitter–the sins of us all that He took on during that desperate, dark night. Wait until you see what happens to Judas when he takes those deadly pieces of silver.
I also noted Jesus, Peter, and Pilate all had guitars and it seemed like they were picked up and played when a message needed to be delivered. And in several numbers mics are shared and traded. Once Jesus grabs the mic from Judas. Very satisfying.
My favorite song in the show is “Hosanna.” Beautiful, sweet, happy. And yet… In verse one, the crowd asks Jesus: Won’t you smile at me? Second verse: You’re alright by me. And then, in the third verse: Won’t you fight for me? Even with joy at being in His presence, they bask in His love, but completely miss the message. He isn’t there to fight for them. As a King, He is there to teach them to love, forgive, trust, have faith. He will not free them from the Romans. He will free them (and us) from fear, sadness, despair. His message is to heal from within, not fight outwardly with our enemies. How quickly this sweet song turns from love to fighting. It is the essence of the show–we none of us really may understand His loving message. And we need to.
I’ve heard some people don’t like Jesus Christ Superstar because it ends with Good Friday–Jesus dying and dead on the cross. I was in a production of this show a few yesterdays ago in California (community college) and that’s how it ended. This 50th Anniversary version has an updated ending. I will not disclose it, but will say, I felt hope as I left the theater. (And for me and many others, Jesus IS Hope, so this was a welcome, heartwarming change for me.) Watching people as they filed out of the theater, there was little laughing, but many smiles. As my companion who saw it with me on opening night said, “The more I think about it, the more I can really admire how conceptually great it really was. It was boiled down to its essentials, yet embellished with just the right details and guided with a light, sure hand.” I say, agreed, one-hundred percent. You have three more days to see this show. Go. Experience it. If you’ve seen it before, see it again. It’s fresh. It’s full of life. It’s startling. It’s shining. It’s–super.
*Before you go, I would highly recommend you listen to the entire album while reading the lyrics. Some of them are hard to understand. They’re all important.
Zions Bank/Broadway at the Eccles presents Jesus Christ Superstar, music by Andrew Lloyd Webber, lyrics by Tim Rice.
George S. and Dolores Dore Eccles Theater, 131 Main Street, Salt Lake City, Utah
May 10-15, 2022, times vary
Eccles Theater Website
Purchase Tickets at ArtTix.org
Eccles Theater Facebook Page
Photography By Evan Zimmerman
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