It’s difficult to believe that more than half a century has passed since the world first heard Andrew Lloyd Webber’s/Tim Rice’s hard-rock musical, Jesus Christ Superstar. Initially released as a record album, it caused an international sensation. While the Brits were initially cool to this rock-n-roll treatment of the biblical story, which told of the final days of Christ’s life, Americans seemingly couldn’t get enough of it. The album was named 1971 Billboard Album of the Year. Younger folks may find it difficult to imagine some of the initial reaction that album caused, with religious groups protesting that the musical was “blasphemous” for “reducing” Christ to a mere mortal (which he was) who attracted obsessive followers, both male and female (which he did). Jewish leaders worried that the ending, in which Christ’s followers called for his execution, would inspire anti-Semitism. Even those more open to the ideas expressed by these young composers may have winced at “casual” references such as, “JC, JC, won’t you smile at me?”
For all its flaws, the musical has held up over time. It has been revived three times on Broadway. In 2018, NBC TV produced a “live” version starring singer John Legend as Christ. And the current version of this national tour extends back even farther than that, when the London-based production won a 2017 Olivier Award for Best Musical Revival. Plans for the current tour had been halted when the Covid-19 pandemic curbed all performing arts activities worldwide. The tour opened for a one-week stand in Milwaukee in late November. It was certainly worthwhile viewing.
The multi-million-dollar cost was evident throughout, from the two-story set to the amazing lighting effects, as well as the large, onstage rock band. Superstar tells the famous story through the eyes of Judas Iscariot, one of Christ’s followers and the man who eventually leads Jesus to his death. So the roles of Jesus (adeptly interpreted by Aaron LaVigne) and Judas (a vocally powerful James T. Justis) are almost equally important. Here, Jesus is tall, thin and white; Judas is shorter, more heavily built and Black. Throughout the musical’s final scenes, Judas increasingly worries about his role in Christ’s death – even claiming that Christ “set him up” for the job.
The current revival has been revved-up as well as revived; the throngs who crowd around Jesus are mainly manic in the intensity of their singing and dancing. Costume changes are numerous and seamless, indicating the general look of desert people of that time. Perhaps Jesus’ most striking feature is the man bun he wears for most of the production. His hair isn’t loosened until it’s clear that he is going to his death, and then it flops around rather sloppily on the back of his otherwise shaved head.
The other characters make all the right moves, including Jenna Ruball who still looks like a flower child as a slim, shy Mary; Alvin Crawford as Caiaphas; Tommy Sherlock at Pontius Pilate; Eric A. Lewis as Simon and especially Paul Louis Lessard, who delivers the upbeat, oddball “Herod’s Song” with the whimsical breeziness it deserves.
This musical has an important place in theatrical history as the second effort (after Joseph and the Amazing Technicolor Dreamcoat) by Lloyd Webber. He went on to create a number of titanic hit shows, including Phantom and Cats. (Those familiar with both musicals will hear musical strains of them in certain sections of Superstar.)
Superstar’s songs are always lovely to hear, whether for the first time or the 100th. The rock band doesn’t cut back on its edgy electric guitar music, which still sounds fresh and inviting to a new generation. The best songs of 50 years ago remain the top ones today, such as “I Don’t Know How to Love Him,” “What’s the Buzz,” and, of course, the title tune (“Superstar”). Judas adds particular poignancy to “Damned for All Time,” and a reverent throng of followers make a strong impression with “Hosanna.”
The current touring production runs 90 minutes without an intermission, which makes it ideal for audiences still clutching to pandemic fears. Audiences must show proof of vaccination or a recent negative Covid test prior to entry, and mask wearing is enforced inside the theater.
