Jesus Christ Superstar
For Andrew Lloyd Webber’s rock opera, Jesus Christ Superstar, to work effectively on stage, it needs a damn good Jesus to carry the show and to pick up any of the stragglers along the way, which might otherwise struggle through this production. I’ve seen long-term Jesus, Ted Neely, on stage in the past in this role, and I have to say, I wasn’t very much impressed (I’m not a fan of the half talk/half sing performances some actors pass off in musicals-especially when they are supposed to be singing!) Luckily, director Derek Charles Livingston has found Jesus in Scott Charles.
Intentionally anachronistic in style, "Superstar" juxtaposes the political state of Jesus’ time with our own. It chronicles the last seven days of Christ from his arrival in Jerusalem, the religious unrest caused by his preaching, his mass appeal, his betrayal by Judas, the trial before Pontius Pilate, and his ultimate crucifixion. It is also told through the point of view of Judas, a much more sympathetic figure in this musical than he’s ever been portrayed. Webber’s intent was to present Jesus, not as a deity or religious icon, but a mortal man.
This production, at the Attic Theatre, takes advantage of the built-in anomalies in the script and adds a few interesting ones I haven’t seen before: A prologue involving a wiretapping conspiracy, the use of a monitor that unfolds the back story in CNN-style reporting. This quickly gives way to the overture featuring a dueling violinist and electric guitar player invoking an almost rock concert quality. The other major addition is the cross-gender casting of Judas (Blanche Ramirez) and Pontius Pilate (Pamela Taylor).
Though all of these ideas keep this musical fresh, only the last truly makes an impact on this production as a whole. Taylor’s Pilate (more suited for Judas, I think) is on par with that of Charles’ Jesus -- especially in the second Act’s dramatic confrontation at the trial. Mary Magdalene (Jennifer Blake) is demure and effective as the one-sided love interest in this story. Ramirez’s Judas, on the other hand, lacks the dramatic arc required.
Livingston manages to make good use of the small stage, and I wonder if size has compromised what may well have been a fluid performance. At times, the performers struggle with the choreography. Ironically, the quieter pieces of the musical ("I Don’t Know How to Love Him," "Gethsemane") give this show its momentum, while the up tempo numbers which require much of the cast to be on stage, slow it down.
Despite these flaws, this "Jesus Christ Superstar" works. It is fast paced, but not too quick to get us through the musical numbers. The band backstage is excellent, and Eric Jorgenson as the Apostle and violinist on stage in key emotional moments in the show adds a touching quality. Derek Charles Livingston saw a parallel in this musical to our own lives in America today, thirty-seven years after it first premiered, by infusing it with government conspiracies and a multi-ethnic cast that embraces all sexual orientations. Ultimately, it is the director’s vision that ties it all together and keeps it new.
Through April 27, at the Attic Theatre, Attic Theatre & Film Center, 5429 W. Washington Blvd., L.A. Price: $30, Box office: 323-525-0600
