The dystopian world of "The Handmaid's Tale" and its fight for freedom in a violent world mixed with destruction, desire, despair, greed and persecution is the inspiration behind ACT of CT's thrilling futuristic take on "Jesus Christ Superstar," the Andrew Lloyd Webber/ Tim Rice musical that began life as a concept album in 1970, made its Broadway bow the following year as a fully realized stage musical and finally crossed the pond - so to speak - for its splashy, eagerly-awaited 1972 debut in London's West End.
A jarring, explosive interpretation of the last week in the life of Jesus of Nazareth, this theater-shaking incarnation adapts a competent, angry, important motif of urgency, laced with rock-concert consistency, befitting sexuality, heightened frenzy and bold leaps of wildly crazed abandon to retell the Christ story as viewed through a crafty lens of illustrious examination and collective debate.
This is "Jesus Christ Superstar" as you've never seen it before. And therein, lies the heart and soul of this imaginative piece of musical theater that shimmers with attentive, demanding directness and interpretive definitude.
Smart.
Eclectic.
Specific.
Passionate.
Controversial.
Between the pungent musical score and the elaborate visual display created by the production's stellar design team, this newly envisioned "Jesus Christ Superstar" is an adventurous oeuvre chock full of mind-blowing spontaneity, enthusiasm and grit, set against an intricately designed futuristic landscape of high-voltage drama, sentiment and game-inducing melange.
An interpreter with a keen eye for justified detail, creation, smartness and wisely-stated, bleeding-edge coda, Levine takes hold of this production working from a proven blueprint, hellbent on originality, engagement, stop-start consciousness and revolutionary bravura. His direction is carefully thought out scene by scene, song by song, line by line. Who goes left? Who goes right? Who ends up front and center? He does it all with a dash, a spin, a thought, a pause, a reflection, a moment.
As "Jesus Christ Superstar" evolves, he also shapes and molds entrances and exits to conform to the musical's perfectly synced orchestrations. How an actor, stands, sits, moves, wipes a forehead, lays out a blanket, unpacks a box of canned goods backs or falls to the ground is also part of the "Superstar" directorial mix as is the placement and stance of each and everyone on the ACT of CT stage as individuals, soloists, members of the ensemble or observers of the actual story, its advancement and gripping, angst-ridden conclusion.
What separates this revival from other interpretations of the two-act musical is Levine's desire to dig deep, experiment, change and implement, surprise and shock, taunt and tease and never once doubt his theatrical showmanship. Relying on his knowledge and fully imagined skills as both actor and director, he takes a 52-year-old musical, twists and shapes it to his own liking and lets it breathe and resonate until everything naturally and evenly falls into place.
In Act II, for example, the whip-stroke effect of the "39 Lashes" is signified by red stage blood - rather that actual whips - that is splashed hard against Christ's naked torso. It is a shocking, defining moment that works most imaginatively as does Levine's Act One opening montage that sets the stage for what's to come using elements, sights and sounds reflective of "The Handmaid's Tale," but reinvented for the atmospheric playground that is "Jesus Christ Superstar."
Conceived as a rock opera reflective of the era and musical styling of its birth, "Jesus Christ Superstar," as created by Andrew Lloyd Webber (music) and Tim Rice (lyrics) is an edgy, immersive dramatization gorgeously dressed with 25 musical numbers designed to enhance and progress the Jesus Christ story. They are: "Heaven On Their Minds," "What's the Buzz?" "Strange Things Mystifying," "Everything's Alright," "This Jesus Must Die," "Hosanna," "Simon Zealotes," "Poor Jerusalem," "Pilate's Dream," "The Temple/Make Us Well," "Everything's Alright (reprise)," "I Don't Know How to Love Him," "Damned For All Time/Blood Money," "The Last Supper," "Gethsemane," "The Arrest," "Peter's Denial," "Pilate and Christ," "Herod's Song," "Could We Start Again, Please?" "Judas' Death," "Trial By Pilate/39 Lashes," "Superstar," "Crucifixion" and "John 19:41."
The score - a challenge in itself- is surreal, judicious, raw, real and energy sapping. Though its origins are 1970's rock hallucinatory, then and now, the songs themselves unfold with apt compassion, tenderness, voice, scope and euphoria. As composer and lyricist, Webber and Rice offer haunting orchestrations and lyrics that are seamlessly placed throughout the two-act musical, each complementing and probing the emotional heartbeat, tension and hysteria concurrent in the story, the landscape, the characters and its defiant urgency. Their rhythmic inventiveness and mighty thwacks of pacing, clarity and focus give "Jesus Christ Superstar" an immense sound and stature that complements its otherwise moving, pulsating theatrical recognition.
Key to the success of any musical is the employment of a musical director, music supervisor and orchestral team equipped to handle the complex machinations of the score itself, its evolution, its driving spirit and its performance before a live audience. At ACT of CT, the combined team of Jeffrey Campos (musical director), Bryan Perri (music supervisor) and an nine-member band consisting of Campos (conductor/keyboard 1), Clyde Daley (trumpet), Tom Cuffari (keyboard 2), Dennis J. Arcano (drums/percussion/synthesizer programmer), Amy Griffiths (woodwinds), Darlene Kaukoranta (french horn), Dan Harrington (guitar 1), Al Orlo (guitar 2) and Alex Busby Smith (electric bass) play out the rightly considered classic score with a well-matched fullness and intensity that is organic, encouraging and powerfully executed.
Completely aware of the musical's ground-breaking message and its joyously constructed symphony, Campos, as musical director and conductor, brings a smart, fluid, well-balanced sound to the otherwise familiar "Superstar" material. But in terms of nostalgia and remembrance, familiarity is sidestepped in favor of a more involved, modern form of musical storytelling steeped in clean, lucid sonic's of zest, zeal and alert packaging.
At ACT, this is a show about newness and taking chances. Adhering to that conceit, Campos and his orchestral team offer both actor and audience a gazillion order of musical impressions and fingerprints that brilliantly solidify the Webber/Rice arrangements, but view them in a completely different setting and time period. Wisely avoiding over-the-top eccentricities and glitter-coated revelry of other stagings, things are told from a completely different futuristic viewpoint. Here, musical jumps, pings and counterpoints are mysterious, surreal and mystifying, which, in turn, adds more fuel to the re-imagined darkness and surprise of the original Biblical telling.
With the boldest musical cards in place, this fruitful collaboration fascinates on all levels, offset by the pitch-perfect vocal sound of the performers, all of whom are adroitly attuned to communicating harmonies and phrasing with perfect rhythm, drive and impact. What's wonderful about this luminous offering is the ease, the breath, the directness and the tonal specificity in which the music was taught and shaped. More importantly, there is no copycatting here. Everyone from leads to supporting players and members of the ensemble offer their own original take on the music with Perri standing by as both guide, instructor and vocal interpreter. That, in a nutshell, stirs and shakes the emotions musically, thus, adding cause and substance to this futuristic telling and its weighty touches of emotion and musical conflict.
As with any rock opera ("Hair," "Tommy," for example) - dance - celebratory, reflective, edgy, expressionistic - is part of the musical journey in terms of illumination, turning point, contrast, influence and storytelling. Here, choreographer Sara Brians uses Levine's dystopian-inspired perspective to create movement, rhythm and stylization that addresses the story at hand in terms of musicality, struggle, effort, salvation and persecution. Augmenting athleticism as her choreographic centerpiece, she creates frenzied clusters and tableau's that respectively mirror "Superstar's" strong sense of mind games, rebellion, public ceremony, attack, mockery, persecution and carborundum.
Throughout the musical, there's a centered rootedness and continuity to her choreography. The arrangements - physical and figurative - unfold with full-fraught intoxication, insanity, aggressiveness and quicksilver inspiration. It's all confidently spread out across the ACT of CT stage with applied theatrical-applied joy, homage and dark, eerie, strict Gilead undercurrents effectively timed the beat and pulse of the Webber/Rice score and its mind-blowing orchestrations.
Headlining the cast of "Jesus Christ Superstar" are Brett Stoelker as Jesus, Caitlin Kinnunen as Mary Magdalene, Avionce Hoyles as Judas, Michael McGurik as Pilate, Katie LaMark as Annas, Isaac Ryckeghem as Caiaphas, Ben Cherington as the Priest, Randy Donaldson as Herod, Andrew Stevens Purdy as Peter and Ariel Neydavoud as Simon.
With any interpretation of "Jesus Christ Superstar" - in order for the production to fly and resonate - the casting of the lead role of Jesus is crucial to the success of the musical and its frenzied rock opera staging. At ACT, Levine thrusts Brett Stoelker into the spotlight to portray this iconic role. That said, it's all a matter of choice on the director's part in terms of what he wants to accomplish, how the role is to be played and whether or not he wants someone to mirror the Christlike image set forth by Jeff Fenholt in the original 1971 Broadway musical, Paul Nicholas in the 1972 West End edition or Ted Neeley in Norman Jewison's 1973 movie musical adaptation.
The fact that Stoelker looks like none of these performers is intentional on Levine's part. Then again, for this version, he's not supposed to. What matters here is that Stoelker is more of an everyman sort of Jesus - longish, unkempt hair, neutral clothing, laid back rock persona - who, even when surrounded by the entire cast bears no resemblance to any one of them. And that look, that separation, that natural sense of wonderment and purification works especially well in this reworked, re-imagined telling.
Acting wise, Stoekler delivers a strong, centered, emotional portrait that draws the audience immediately into his character's story. He reminds one of an older Justin Bieber, but without the fan club, the screaming girls, the hype and pop and dazzle overkill. Instead, he keeps things simple, natural and earnest. Vocally, he's a powerhouse of passion, drama and agility, tackling the iconic score (a few tweaks have been made showcase his enormous talent) with confidence, range and splendid musicality. His many vocals, which include "What's the Buzz?" "Poor Jerusalem," "The Last Supper" and "Gethsemane" are seared into our consciousness with focus, achievement, sweetness and appreciation.
As Mary Magdalene, Caitlin Kinnunen offers audiences a brilliant star turn as the soulful, caring, but often misunderstood Mary Magdalene. Like Stoelker, she too has an exceptional singing voice and brings graceful simplicity, beauty and vibe to the stirring pop vocals "I Don't Know How to Love Him," "Everything's Alright" and "Could We Start Again Please?" the latter shared with the likes of the charismatic Andrew Stevens Purdy as Peter and the equally talented Ariel Neydavoud as Simon.
Katie LaMark, a dynamic actress who rocked the world of Jonathan Larson's "Rent" back in 2017, in the role of Maureen Johnson, plays the part of Annas, a dystopian-appointed high priestess who, in this production, is both antagonist and upscale advisor. Here, she commands your attention with an edgy, dramatic turn (she also did so in "Rent") whenever she sings, moves, observes, taunts, stares or takes part in the musical's hypnotic rock-drenched numbers. Dressed in a stunning California blue ensemble outfit - 1950's Coco Chanel couture mixed with "Handmaid's Tale" Blue of the Wives wardrobe - she is a vision of loveliness and government-controlled perfection perfectly in sync with the plot moving machinations at hand.
Avionce Hoyles, last seen in ACT of CT's rousing musical "Smokey Joe's Cafe" is an amazing, forceful Judas. He also possesses a rangy, powerful, pure singing voice that makes all of his vocals sound absolutely magnificent.
In the roles of Pilate, the official who presided over the trial of Jesus and eventually ordered his crucifixion, Michael McGuirk is a competent, vocally perfect and slick, twisted leader with plenty of dash, personality and presence to boot (he's the perfect choice to play Peron in "Evita") as is the equally impressive, striking Ben Cherington in the role of the Priest. As Caiaphas, the high priest who organized the plot to kill Jesus, Isaac Ryckeghem makes his every on-stage moment shine. He also comes to ACT of CT with a strong baritone voice that is simply incredible. Randy Donaldson also strikes a high note as Herod, the client king of Judea, and has great fun performing the snarky "Herod's Song" with his trusty minions halfway through Act II.
The brilliance of Levine's casting and Perri's expert vocal tutelage continues with the start-out, breath-taking performances of the "Jesus Christ Superstar" ensemble. They are: Kellie MacMillian, Corrine C. Broadbent, Will Stephan Connell, Val Moranto, Marlena Lopez Hilderley, Alex Hartman, Amber Hurst Martin, Devin Price, Daniel Thimm, Cole Wachman, Caitlin Witty and Chris Balestriere. Ariel Neydavoud and Andrew Stevens Purdy also partake in the "JCS" electric-charged mania when not playing their respective roles of Simon and Peter.
Throughout the production, this group of 14 crackle with vibe, enthusiasm, passion, adrenaline, chill and confidence. They glide through the Webber/Rice score with a hyper-fueled charge that is both timeless and revolutionary. They also make us believe that we're hearing the music of "Jesus Christ Superstar" for the very first time.
As with the evocatively staged "Nickel Mines," this production of "Jesus Christ Superstar" is rife with inspiration and color provided by a very talented design team that includes Jack Mehler (set design), Claudia Stefany (costume design), Penny Jacobus (lighting design) and Nathan Rubio (sound design). All four work harmoniously together crafting a fluid, surreal atmosphere that reflects Levine's unique take on the musical and its connection to both the Ukraine and "The Handmaid's Tale."
The elation and magnificence stirred by this revelatory revival and its strong sense of character, concept, music and dystopian experimentation and injustice imbues this staging of "Jesus Christ Superstar" with an incredible balance and credulity that gives it a heightened awareness and narrative thrust that is afresh with swerving aplomb. The combined talents of Daniel C. Levine, Bryan Perri, Jeffrey Campos and Sara Brians - director, music supervisor, musical director, choreographer - make it a bold, dark and frightening journey of rock opera sweep and restless range, matched by the vocal intensity and emotion of the entire cast, all of whom illuminate the crushed, hypnotic investment of this timeless tale of a man and his disciples in a Holy Land riddled with war, destruction, contamination, destruction and mind-bending, controlled channeling.
It keeps you on edge. It excites and sings. It barks and provokes. It makes you tune in and listen. And more importantly, it transports you to a time and place like no other.
Photos of "Jesus Christ Superstar" by Jeff Butchen
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