MUSICAL THEATRE REVIEW:
JESUS CHRIST SUPERSTAR
4 JUN/11

JOHN COULBOURN - QMI Agency
Rating: 5 out of 5





STRATFORD — To cap an otherwise lacklustre opening week here, the Stratford Festival pulled out the heavy artillery and ended it with, if not a bang, than at least a bang-up staging — an old-time revival of what was once considered a new-fangled musical that had an opening night audience shouting “Hallelujah!” at Friday’s opening.

Having carved a major niche for himself in the world of rock musicals, it was not surprising to see artistic director Des McAnuff return to his roots, revisiting and revitalizing the Tim Rice/Andrew Lloyd Webber groundbreaker, JESUS CHRIST SUPERSTAR, in a production on the Avon stage. What was surprising, however, was what he found when he made that return. For while many questioned this particular programming choice when it was announced last summer, many more now realize that McAnuff’s choice was little short of divine inspiration.

To refresh your memory: Released as an album in 1970, SUPERSTAR caused a sensation well before its 1971 Broadway debut. Exulted and excoriated in its early days for its very human portrayal of Jesus Christ in the last seven days of his life, it was a work that eschewed any judgment on divinity and celebrated instead the humanity of the man. What started as a cult hit quickly moved mainstream, despite the disapproval of some sectors of organized religion, who ultimately, despite those concerns, embraced the show and turned it to their own purposes. But in a sparkling production literally pulsing with life, McAnuff reclaims the show and returns it to its rock’n’roll roots, jettisoning much of the religious iconography that had attached itself to the work over the years and once again emphasizing its very human roots.

Cast in the title role of a man who believes he was born to save the world, Paul Nolan gives a heart-wrenching and compelling performance, despite a nasty opening night virus that managed to cut his remarkable singing voice off at the knees — even while it might have added a certain feverish aspect to his knock-out performance.

Meanwhile, Chilina Kennedy could be accused — at least by those willing to cast the first stone — of phoning in a vocally strong performance as Mary Magdalene, caring for Jesus in a perfunctory, almost business-like way. The vocally powerful Josh Young however, is nothing if not electrifyingly present in every moment in his portrayal of Judas, completing the emotional triangle on which Rice constructs his tale and bringing a much needed sexual tension to the proceedings in the process. Despite Kennedy’s lacklustre acting, these three manage to light up a stage designed by Robert Brill, but clearly influenced by some of McAnuff’s earlier works in the genre.

But it is in the supporting performances that McAnuff finds the sparkle that sets the show aflame. While Bruce Dow clearly aims to delight — and succeeds — in his performance as a decadent dancing Herod, Marcus Nance lends lovely reserve to evil gravitas as the high priest Caiaphas. There is also memorable work from Mike Nadjewski (as Peter) and from a talented and hard-working chorus, marshalled to perfection by choreographer Lisa Shriver, who keeps things hopping without overshadowing the storyline.

But finally, only one member of the supporting cast threatens to steal the show. As a tortured Pontius Pilate, Brent Carver gives a performance of understated excellence that forces an audience to come to him, rather than have him bring it to us. In simply counting out 39 Lashes, Carver leaves one with the certain knowledge that even one more lash would break his heart — and ours.

For those who love good musical theatre, JESUS CHRIST SUPERSTAR is something very much akin to a religious experience.