Camelot’s Jesus Christ Superstar: Glorious Musical Performances Amidst Devastation – by Lee Greene

[Broadway.com, What’s the Buzz: How Two British Kids Made Rock Musical History With Jesus Christ Superstar, http://bit.ly/1CSwGSL] Fresh off the theatrical success of Joseph and the Amazing Technicolor Dreamcoat, Lloyd Webber and lyricist Tim Rice ran with the idea and composed Jesus Christ Superstar. The pair looked to the Biblical Gospels of Matthew, Mark, Luke and John and focused on the human story involved. “[I]f he knew he was God, then what’s the suffering? What’s the agony? Where’s the dilemma? Where’s the sacrifice?” [Id.] But no producer was willing to put it on stage. In the documentary, The Making of ‘Jesus Christ Superstar’, Lloyd Webber said: “[E]very single producer in London said, ‘You have to be joking. This is the worst idea in history.’” [https://youtu.be/GdIvIRxT1RM?t=49] So it was originally made as a rock opera album, with vocals accompanied by electric guitars, drums, bass and keyboards, shopped to the music industry. Even THAT had an up and down history. It was released in Britain in the fall of 1970, and (in Rice’s words) “sunk like a stone”. But eight days later, it was released in the U.S., where the album Jesus Christ Superstar “reached #1 on the Billboard chart in 1971, spawned hit singles like “I Don’t Know How to Love Him” (which charted in two different versions, by Elliman and Helen Reddy) and sold more two and half million copies.” [Broadway.com, http://bit.ly/1CSwGSL] That’s the album cherished by all of us who were teenagers in the 1970’s, with many songs we knew by heart and would sing at the slightest provocation. (Small wonder that the music in the Camelot production seemed so familiar.)

The success of the recording in America paved the way for the stage adaptation originally intended by Lloyd Webber and Rice. Jesus Christ Superstar earned the largest advance in Broadway history ($1.2 million) and landed on the covers of both Time and Life magazines, opening on Broadway on Oct. 12, 1971. [Id.] But it was not well received by critics, who furnished mixed reviews. “Not at all uninteresting, but somewhat unsurprising and of minimal artistic value” wrote theater critic Clive Barnes of the New York Times. The show ran for a modest 711 performances on Broadway, and in fact the Broadway production was NOT liked by the authors. “It was no secret that we didn’t like the Broadway production of Superstar,” Lloyd Webber told the Times several years later. [Id.] In addition, the play generated substantial controversy. The album was initially banned by the BBC for being sacrilegious, and when the show arrived on stage and screen, the protests reached a crescendo. The Broadway production was criticized by Jewish groups as being anti-Semitic, and by segments of the Christian establishment for its sympathetic treatment of Judas and suggestion of a sexual relationship between Jesus and Mary. When the film came out in 1973, the Anti-Defamation League of B’nai B’rith, released a statement saying “the movie’s sharp and vivid emphasis on a Jewish mob’s demand to kill Jesus can feed into the kind of disparagement of Jews and Judaism which has always nurtured anti-Jewish prejudice and bigotry.” [Id.] Even though the story largely conforms to the historical facts, then, as now, no one wants to face the reality of the facts and accept any responsibility – everyone wants some sort of revisionist version of the tale, which makes them look good. It seems to be eternally difficult to admit “Oops, made a mistake. So sorry!” And though the crux (sic) of Jesus’ message was forgiveness, forgiveness seems to be in short supply among those who would suppose to follow after him. But the uproar just succeeded in proving the advertising axiom, “all publicity is good publicity”, and the run of 711 performances on Broadway and success of the film were in no small part due to the interest incited by all the protests.

The play has been revived on Broadway several times, including 1977, 2000 and 2012 runs, each offering a slightly different take (though none as extreme as Camelot’s apocalyptic vision). One thing they all seem to have in common is a critical reception by reviewers – the show is more or less universally just NOT loved by the arbiters of theatrical value. The 2000 production, staged by Australian director, Gale Edwards, was targeted at young audiences, employing topical emblems – the 12 disciples were dressed in camouflage fatigues, the Roman Centurions as storm troopers, etc. New York Times critic Ben Brantley didn’t like it: “What there isn’t, through the whole of this 30th-anniversary staging of the epochal rock opera . . . is a single original idea. . . . ‘Superstar’ works better as a chain of virtuosic songs than as a sustained piece of theater.” [Ben Brantley, New York Times, Superstar or Not, Jesus Returns, April 17, 2000] The 2012 revival, which was the best liked of all the productions by authors Lloyd Webber and Rice, [Broadway.com, http://bit.ly/1CSwGSL] ran only 116 performances – no protests anymore to drive publicity. Sample review of the 2012 revival: “If this delirious reception for a glitzy depiction of the most influential execution in world history doesn’t strike you as remotely absurd, Mr. McAnuff’s “Jesus Christ Superstar” may just be the right musical for you. I have to confess to finding the show alternately hilarious and preposterous.” [Charles Isherwood, New York Times, A Glitzy Execution in a Religious Revival, March 22, 2012]

So, on to the latest addition to that erratic history, Camelot Theatre’s 2015 production of Jesus Christ Superstar. What do you suspect are the odds that I’m going to run counter to history and buck the long line of my predecessors in the theater criticism business, in evaluating this production of Jesus Christ Superstar? (Never mind, you’ve already seen my title atop this article.) Let’s look at what’s good about this production: the singing AND acting are first rate, across the board.

Camelot has enlisted the services of some of the finest singers in Southern Oregon to sing the six principle roles in this production: accomplished and well experienced tenor Erik Connelly as Jesus; frequent lead, sometime opera singer, wonderful voiced tenor David King Gabriel as Judas; the lovely sounding and always delightful Kendra Taylor singing the mezzo-soprano role of Mary; the best bass for miles around who also invariably delivers a memorable performance in just about every role – Don Matthews as Caiaphas; one of the most dependable and relied upon deep voices in Southern Oregon for every choir, many shows, and also some great sports announcing – Michael Wing singing the countertenor role of Annas; and the golden voiced Nathan Monks, fresh off a star turn as Joe Gillis in Camelot’s Sunset Boulevard, singing the baritenor role of Pontius Pilate. Each and every one of these singers deliver the goods – the music in this musical is as good as, maybe even better than, the original 1970’s rock opera album we, who were teens at the time, fell in love with, and would walk around humming and singing.

The acting wasn’t shoddy either. As is my custom, I took copious notes during the performance, and every one of the principal cast at some point is noted for well done acting, good gestures, great expressions, effective movement and/or superior engagement/focus. The two leading roles are a serious challenge to effectively play. To borrow an observation from Ben Brantley’s review of an earlier production, “it has never been easy portraying Jesus, and it is hard to remember any actor . . . who became famous playing the role. For whatever reasons, one of the ultimately charismatic figures of Western civilization, so memorably evoked in music and painting, tends to elude representation in the flesh.” [Ben Brantley, New York Times, Superstar or Not, Jesus Returns, April 17, 2000] Gee, wonder why it should be so difficult for an actor to inhabit the role of the Son of God, the second member of the Christian Holy Trinity, the ONLY perfect human in all of history, the Savior of all mankind? Judas is not much easier – one of the very few people in all of millennia to earn a dictionary entry: “Judas – a person treacherous enough to betray a friend; a traitor.” According to historical tradition and common perception the two represent the ultimate good guy character and the ultimate bad guy – but that’s NOT the way Lloyd Webber and Rice have written the parts. I quoted Lloyd Webber above regarding their take on Jesus – focusing on the conflicted, agonized, human side of the character and pretty much ignoring the God part. What a burden to put on an actor, trying to inhabit that role. And Judas is not written as a bad actor, deserving of his dictionary definition, but as well intentioned, trying to help Jesus and steer him in the right direction, and finally acting as he did, to protect the disciples and followers from what seemed like the inevitable persecution Jesus was leading them into. Again, not easy for an actor to find the right tone to balance the historical figure everyone expects with the character written by Lloyd Webber and Rice. But I did not find any fault in the performances of either Mr. Connelly or Mr. Gabriel. To be sure, neither of them are going to become famous for these roles, but one has to admire their efforts here. Some of the other principals render very memorable performances in their roles. Mr. Matthews AND Mr. Wing, occupying opposite corners of the stage for many of their appearances, are very effective as the primary religious establishment bad guys. Mr. Monk chews up some scenes as the Governor of Judea, Pontius Pilate. And Kendra Taylor gives us a very sympathetic, nurturing Mary – quite likeable; no wonder Jesus has a thing for her.

Camelot has populated the rest of the 27 roles in the show with an energetic, enthusiastic group of younger performers who deliver beneficial energy and enthusiasm on stage. The entire cast do their parts well – the singing/acting company for this production represent a big win.

The choreography in this production of Jesus Christ Superstar is also quite good and very effective. The large ensemble numbers, when most of the cast are on stage, are well done, lively, and attention grabbing. The pieces incorporating fewer actors, such as Judas, Mary and Jesus alone on stage, were also done very effectively.

Kudos to the musicians who performed the music – John Taylor on keyboards and synthesizer, and Steve Sutfin on percussion. As I noted, the songs were as good as presented on the original 70’s album, which used significantly more musicians to accomplish that. My copious notes even include an entry “great guitar riff” as the first act closes into intermission. I assume that must have been Mr. Taylor on synthesizer, as there isn’t any credited guitarist. Well, great synthesized guitar riff Mr. Taylor. I certainly cannot overlook Michael Wing’s additional work as Music Director for the show. The superior quality of the singing, with such a large cast consistently hitting the right notes, blending with each other exquisitely, can’t be spontaneous coincidence, but has to be the product of much good work to pull it together. Well done Mr. Wing.

So, you’re thinking, all good so far. What’s the problem then? Well the setting and set just do not work. The problem with a post-apocalyptic rubble strewn location is that post-apocalypse, every place looks the same – dismal. Each scene was preceded by a projected text announcement specifying the location: Ashland Armory, Ashland Plaza, Phoenix High Athletic Field, Lithia Park, Rogue Valley Manor, etc. But there is not a single visual clue in any scene that is recognizable as the announced location. It’s basically the same dismal rubble throughout. And what’s the point of all that rubble? The story is historically rooted, taken right out of the Bible – it’s a re-telling of events that happened in Judea about 33 A.D. Makes no sense to me in 2019 Southern Oregon, rubble or no rubble. While one has to admire Camelot’s creative leaders for trying to come up with something new and a fresh take on the story, the apocalyptic setting adds nothing beneficial to the show. (It doesn’t necessarily detract from it either – my sense of this production is very much in line with critics’ assessment of other earlier productions: great songs, not exactly great theater.)

As for the costumes – I have strongly mixed feelings about them. Like the 2000 Broadway revival, we get Roman Centurions dressed as storm troopers. The religious establishment bad guys are dressed in long black trench coats. Jesus is in light colored camouflage fatigues. Judas in all black. Ugh! I suppose that is all consistent with the post-apocalyptic theme – but I already dissed that, so enough. If one can abide the post-apocalyptic theme, then the costumes are very good. In some scenes, even better. For the Herod’s Song number, the dancers were attired in clever, eye catching glitter costumes that worked for me. During the title number, Jesus Christ Superstar, the singing and dancing ensemble were dressed in luminescent skin-tight costumes – very angelic in any time or place!

I can’t summarize this production of Jesus Christ Superstar any better than New York Times theater critic Ben Brantley did in his critique of the 2000 Broadway revival of the show: “‘Superstar’ works better as a chain of virtuosic songs than as a sustained piece of theater.” So what is my response to the question everybody really wants to know, “Should I buy a ticket and go to this Camelot production of Jesus Christ Superstar?” Absolutely YES. Go for the music, which is wonderful. Days later, I catch myself still walking around humming and singing songs from the show.

“Jesus Christ
Jesus Christ
Who are you? What have you sacrificed?
Jesus Christ
Superstar
Do you think you’re what they say you are?”

The music in the Camelot Theater production is great – the fine cast sings the songs superbly (infinitely better than I, and most of you, can hum or sing it). Go. Close your eyes, and listen to the music.

Performances of Jesus Christ Superstar continue at Camelot Theatre, 101 Talent Avenue, Talent through August 2, Thursday thru Saturday 8:00pm, Sunday Matinees 2:00 pm. For tickets: order online at http://boxoffice.printtixusa.com/camelottheatre/eventcalendar, or call the box office at 541-535-5250, or in person at 101 Talent Avenue, Talent, Oregon.

Featured image caption: Jesus Christ (Erik Connelly) being crucified, between Caiaphas (Don Matthews) standing left and Annas (Michael Wing) standing right, with onlooking Roman Centurions (in storm trooper attire) and Jewish mob, set in 2019 in Southern Oregon’s “Jackson County Expo” in Camelot Theatre’s Jesus Christ Superstar. Photo by Steve Sutfin.