Jesus Christ Superstar
Work Light Productions presents The Regent's Park Theatre London Production of Jesus Christ Superstar. In celebration of its 50th anniversary, which opened on Broadway in 1971, the original London production at the Mark Hellinger Theatre ran for over eight years and over 3,358 before it closed. By 1980, it grossed more than $237 million worldwide. But after seeing it at the Cadillac Palace Theatre, all I can say after leaving the theater; was WOW!
With Lyrics from Time Rice and music by Andrew Lloyd Webber, Jesus Christ Superstar is rock opera that's loosely, and I mean loosely, based on the betrayal and crucifixion of Jesus. Centered on Judas's accounts of Christ, we get a mixture of rock and Woodstock music in this production filled with contemporary life. With several anachronisms, this version of Jesus Christ Superstar will have you lost and wondering what the hell...heaven is going on here in Jerusalem.
Although this high-energy production was filled with dancing and singing, starting with the actors frantically running onto the stage through the aisle, I still found the play passive and disconnected. It lacks connectivity, and its simplistic and robotic choreography and stage design lack the zest of past productions. Unfortunately, the same can be said for the cast. Aaron LaVigne's Jesus was tedious, lacking the charisma, visual image, or depiction of a Son of Man. LaVigne seems to aimlessly walk around the stage with no purpose or direction, making him utterly human with no spiritual powers of a God who came to the world in human form to save humanity. Omar Lopez- Cepero as Judas was a bit more pleasing; however, his performance wasn’t electrifying or enthralling enough to be the one the storyline follows. The special effect of the silver stain upon Judas's hand, representing 30 pieces of silver, was a nice touch, and the scene where Judas hangs himself was stunning with the red background.
In addition, Jenna Rubaii was too provocative and seductive as Mary Magdalene sings the contentious song "I Don't Know How to Love Him," adding that The Da Vinci Code controversy to those who believe Mary's relationship with Jesus was more intimate. And it seems like the Pharisee's handling of their scepters seems a bit too sexual, and their demeanor at times was flamboyant. There is an old saying, "Keep it simple...," which this production sometimes needed.
Christians viewed the suggestion that Jesus and Mary Magdalene had a physical relationship as sacrilege. And with Mary handing Jesus a beer and him uttering, "And I think I shall sleep well tonight," many wonder about WWJD (What Would Jesus Do). And the power and passion of Jesus bringing cuffed, beaten, and whipped gets stolen when you see Aaron LaVigne with a mic tucked between his hand. The production needs to invest in wireless headphone microphones the actors can wear.
The high notes come from the resurrection scene vividly showing Jesus hanging from the cross and when Jesus's apostles arranged themselves to display Da Vinci's The Last Supper painting. Also, having the orchestra planned in the center of the stage was a nice touch, but it looked a little congested. And although the special effect of the glitter representing the lashes Jesus took as he journeyed to the cross was more economical than having whips, it diminished the extreme magnitude of Jesus's pain and anguish. The set was designed with crosses, and the lite crosses were also a nice touch.
I missed the Lyric production; however, this production wasn't as exhilarating as the 2017 Paramount Theater, which brilliantly provided the main storyline of Jesus Christ Superstar, which tells the story of Jesus in the final days leading up to his crucifixion.
Tim Rice looked at Jesus through the eyes of Judas, who saw Jesus as nothing more than a moral man. Christians viewed this viewpoint as not showing Christ's resurrection as blasphemous; however, considering the conclusion where Judas and Jesus are sitting together is understandable as Judas wasn't alive during the resurrection.
Adding to the chaos and controversy, according to Islamic history quoted by Imam Jalaluddin al-Suyuti (born 1445), it was Judas who faced death on the cross and not Jesus whom God had "raised unto himself" (Qu'ran Chapter 158). There are many controversial stories of Christ being just another human, and Tim Rice's version probably wouldn't be the last. Still, most will remember this Jesus Christ Superstar for its unstimulating performance.
Although some seemed to enjoy this Olivier Award for Best Musical Revival production and cheered on cue, most of the audience never connected with this performance, walking out stung and confused.
Let's Play Theatrical Review Somewhat Recommends Jesus Christ Superstar at Cadillac Palace Theatre.
Cadillac Palace
Jesus Christ Superstar/50th Anniversary Tour
Written by Tim Rice
Directed by Timothy Sheader
Lyrics by Tim Rice
Music by Andrew Lloyd Webber
July 19 - July 31, 2022
