New York obviously, as we've seen countless times, takes to shows that have been successes elsewhere (be it California, Seattle, Canada or London) very differently. I'm not sure I'd say Isherwood's Times review was unfavourable as opposed to mixed (yes, I know, everyone on here has different definitions of what a mixed review is). His main problems with the show seemed to be that he doesn't think it works in any production, and this production's strengths didn't make up for that.
"Mr. Nolan, with the traditional blond curls of Renaissance portraiture, has a strong tenor that can stretch toward the screeching high notes of Jesus anguished night of doubt in the second-act climax, Gethsemane. But as in other productions Ive seen, this revered figure remains a dramatic blank, storming through the temple or somberly admonishing the apostles without evincing much in the way of a real human personality, despite all the debates about whether he is just a man or the true son of God. (If being semi-divine means striding around looking tortured and noble, Id be inclined to give Mr. Nolans Jesus the benefit of no doubt whatsoever.)
Mr. Youngs superbly sung Judas is much livelier, imbued with an embittered ferocity that seems to stem primarily from irritation at having his hot and heavy bromance with Jesus compromised by the comely Mary Magdalene, played with simple ardor and rich voice by Ms. Kennedy. "
"In this context it might be tempting to view Jesus Christ Superstar that title alone! as a South Park-flavored send-up of itself. But the show doesnt really support such treatment, and Mr. McAnuff tries to walk a line between respect and subversive flash that doesnt quite solve the problem. As Jesus stretches his arms out wide, striking the famous pose that has come to symbolize human suffering and the extremity of his sacrifice, a glowing cross made of golden light bulbs descends from above to light him from behind. Its the Crucifixion as a big finish, but its not meant to be a gag. "
"Mr. McAnuff has had great success on Broadway with the rock-based musicals the Whos Tommy and Jersey Boys. A composer himself (he also wrote the incidental music for his concurrent production of Twelfth Night at the festival), he is clearly inspired by the challenge of marrying rocks visceral intensity to the demands of theatrical narrative. His production is clean-lined, strongly sung and dramatically focused. "
(I won't bother quoting his praise for Brent Carver as it's now a non issue)
http://theater.nytimes.com/2011/08/30/theater/jesus-christ-superstar-and-camelot-at-stratford.html
But, exactly. I think it'll do well enough with New York critics overall. (I've never compared Isherwood to Brantley but when they review the same show, do they tend to agree or not?)
