Jesus Christ Superstar -- my review

[BlueWizard]

Posted: 11/24/04 at 12:41am

JESUS CHRIST SUPERSTAR -- TORONTO, 11/23/04

I just got back from seeing the touring production of Jesus Christ Superstar, currently in Toronto for a week. I was pretty excited about the production, since the word on BWW was that it was good; but frankly, I didn't enjoy it very much. This tour is based on the 2000 Broadway revival, and I can see why the critics didn't like that production very much.

The cast tonight was a mixed lot. Eric Kunze was very disappointing as Jesus. I don't know if he was having an off-night or something, but he was quite terrible: he whispered most of his sung lyrics, didn't enunciate his words and, for some reason, chose not to follow the orchestra: he was always three or four bars behind. He lacked energy and passion, struggling through through "Gethsemane" and avoiding all those high notes. He gave a rather mundane performance overall. I couldn't wait until Jesus was crucified.

We had Judas' understudy tonight, Todd Fournier. He was alright, possessing a natural rock voice that unfortunately grew strained as the night went on. His portrayal of Judas was rather generic.

The performer who stole the show was Natalie Toro, who delivers a provocative and sensual Mary Magdalene. While all the male leads struggled through the score, Toro's powerful voice soared to the back of the theatre and dominated the stage. Mary is a pretty lame role, but Toro made the most of it; her "I Don't Know How to Love Him" was remarkable, one of the only times I've actually enjoyed the song (and now I finally understand its appeal). Also fantastic were the three female dancers playing the super-sexy Superstar Soul Girls.

The production itself is a strange one. I usually love conceptual, experimental re-imaginings of shows, but this one is just confusing and not very thought out. It's like Star Wars meets Rent: Jerusalem looks like a post-apocalyptic slum, with Darth-Vader lookalikes as police and soldiers. Jesus' disciples are dressed in battered street clothes. Jesus' enemies and the merchants in the Temple are a marriage of Wall Street businessmen and 1930s mafia lords. It all sounds very outlandish and interesting, but there's nothing unifying it all. It's just confusing and rather jarring.

Yet a lot of why I didn't enjoy the show has to do with the musical itself. Superstar has a place in my heart because I was in a college production of it a few years back, but watching it I can remember how bad the musical really is. Most of Tim Rice's lyrics are cringe-worthy ("Hey JC, JC, you're alright by me," or worse, "Always hoped that I'd be an apostle, knew that I would make it if I tried" -- what was Tim Rice smoking when he wrote that??), and Webber's score is rather tiresome. The show also makes no sense; if I wasn't previously familiar with the show, I wouldn't understand it at all. Songs jump from scene to scene with no dramatic transition (how did we get from Simon fawning over Jesus, to a supposed dream sequence with Pilate, to the temple in Jerusalem?). Half the time the audience has no idea what's going on. And unless you know the Biblical story pretty well, you're completely lost.

So I can forgive this production of Superstar for being so convoluted. I think the director and designers aimed for an eclectic, loose concept because the work itself is so anachronistic. Still, I think the original concept (echoed in the movie) of imagining Jesus as a modern-day hippie works a bit better, because the musical itself feels like some weird drug trip.

For those who've seen this production of JCS (spoilers!): I really liked how they decided to cut out the music in the coda (which was always jarring to the ears), and just have it silent onstage for Jesus to die slowly and sadly. I thought that was a powerful dramatic touch, and a great directorial choice. But then they ruin it: what's with that final moment, with the huge light-bulb-crazy crucifix lighting up and ascending into the sky like a spaceship? It looked so incredibly silly to me. Was it supposed to represent Jesus' soul going up to Heaven or something (*blech!*)?

One more thing: this production doesn't play well in Toronto's cavernous Canon Theatre. The Canon Theatre, while beautiful, is terribly designed. With 2000 seats on only two tiers, the sight lines are awful and performances often get lost in the space. I saw Rent here, and the huge auditorium killed it. Wicked will begin its tour at this theatre in March, and although it's a huge spectacle that will no doubt fill the space nicely (Phantom found in the Canon a comfortable home for 11 years, after all), I think this venue will make Wicked even chillier than it already is. At the Canon, you're often so distanced from what's onstage that you have to strain to feel connected to it.

Updated On: 11/24/04 at 12:41 AM

[leomaxfrank]

Posted: 11/24/04 at 1:53am

great review! i do think that there is a way for JCS to be a stronger show..i've harnessed many ideas for improvement of the show and its transitions, etc. but there are truly some amazing moments in the score (its his best IMHO) and its premise, of course, is wonderful.
lawrence clayton is amazing and it would have been great to see him play judas.

[spiderdj82]

Posted: 11/24/04 at 1:56am

I said it before and I will say it again......

1996 London Revival Cast.

[leomaxfrank]

Posted: 11/24/04 at 1:58am

yeah spider i'll have to check it out..i dont know it

do you know about the NYACK recording?

[spiderdj82]

Posted: 11/24/04 at 1:59am

Uh......what is that? Sounds like some kind of drunken barbershop group to me.

[Type_A_Tiff]

Posted: 11/24/04 at 2:00am

I hope it was just Eric Kunze having an off night, because when I saw him in the show last...July, was it?...he was fantastic. (Granted, it was one of the first cities he did the show with, and I think some recent reviews have said the cast seems tired.)

I really like the style although I've got mixed feelings about the stock exchange ticker, etc. That's sort of over-doing it.

Do they still have the really tall guy and the really short guy as.....(characters drawing a blank...you know who I mean??)

[spiderdj82]

Posted: 11/24/04 at 2:03am

To tell you the truth, I think the Film Version (1970-something) did a great job with setting the mood and the scenery was GORGEOUS. Too bad the redneck guy playing Jesus and the guy playing Cesar and some of the supporting cast had to ruin it all. I wish they would come out with one version on film that just takes all the elements of the show and make it into something that just makes you want to cry your eyes out.

[Type_A_Tiff]

Posted: 11/24/04 at 2:05am

On a positive note, Carl Anderson was FABULOUS in the movie, and remained fabulous on stage last year! RIP.

[spiderdj82]

Posted: 11/24/04 at 2:09am

Carl Anderson was AMAZING!!!

[BlueWizard]

Posted: 11/24/04 at 2:26am

Do they still have the really tall guy and the really short guy as.....(characters drawing a blank...you know who I mean??)

Yes, Jeffrey Polk and Lawson Skala are still on the tour as Annas and Caiaphas, respectively! I thought Skala was great (it's a difficult singing role because of those intense low notes -- demands a bass's bass), but Polk....not so much. Like Fournier, I felt like he was straining his vocal chords. I did rather like the fact that Skala is toweringly tall, and Polk is really short. You get that classic visual joke of quintessential sidekicks.

To tell you the truth, I think the Film Version (1970-something) did a great job with setting the mood and the scenery was GORGEOUS.

Strangely enough, the man who directed the film version of JCS is now my college's new Chancellor: Norman Jewison. He also directed the masterpiece film version of Fiddler on the Roof, and that perfect romantic comedy, Moonstruck, as well as other classics. He's an alumnus at my college. I finally met Jewison a few months ago, and he's very kind and down-to-earth. Next time I see him, maybe I'll ask him some questions about how he chose to adapt JCS and Fiddler.

Another thing about the current tour: I felt the staging was rather dull and unimaginative. The catwalk was waaay overused; it wasn't very dynamic, and isolated the performance from the audience.

Has anyone ever tried to fix the storytelling problems in the show? There's no flow at all: the moments jump from place to place, and you really have no idea what's going on. There are no transitions whatsoever from key scene to key scene. How is anyone supposed to figure out what the current setting is, and what's going on? The musical has such lost potential: I feel like if they just clarify the plot and guide the show along carefully, it would be less clunky and more powerful.

I really enjoyed the "Superstar" performance, though. It was so sexy and rock & roll, I felt like Judas had arisen from the infernos of Hell with his vixens to taunt Jesus.

Updated On: 11/24/04 at 02:26 AM

[Becky]

Posted: 11/24/04 at 1:53pm

I hope it was just Eric Kunze having an off night, because when I saw him in the show last...July, was it?...he was fantastic.

I saw Eric a month or so ago (and had seen him previously about a year ago?) and he was absolutely incredible on both occassions. I'm guessing he was having a bad show - because the high notes BlueWizard mentioned him avoiding are usually breathtaking. He belts these high octaves so effortlessly and I was literally stunned at some of his vocal power during the show. I will agree that some of his softer moments are a little too soft (the whispering of the lyrics). While it might be a wonderful touch to those of us in the front orchestra (who wouldn't have a hard time hearing), I imagine it was hard to hear him in the upper balcony.

I agree w/ Wizard. Natalie is outstanding, as was the rest of the cast. Seeing Todd as Judas would be interesting. Huh.

[JohnPopa]

Posted: 11/24/04 at 4:04pm

The only problem with the 1996 Revival recording is that it's still all the new arrangements and changes that I don't like.

Yeah, it's a BETTER recording of those changes but I'm happier when the show doesn't use them in the first place.

Crap, I sound like a fogey.

Oh well. A good, creative production of the original show is good enough for me.

[Type_A_Tiff]

Posted: 11/24/04 at 4:09pm

Has anyone ever tried to fix the storytelling problems in the show? There's no flow at all

Hmmm...I never thought about that. I guess I was always able to follow the movie easily so the musical was pretty easy for me as well.

I felt the staging was rather dull and unimaginative.

I think the sets could have been more imaginative, but I think the staging, as in the blocking, choreography, etc. was very good. Just mho.

Norman Jewison's your Chancellor?! Where's this at - Queens? York? (He's from Ontario, right?)

Curious...how's the show selling in Toronto? It sold about...maybe 75% in Vancouver, but I wondered if it would sell better or worse in TO since it's such a theatre town! (PS. Have you bought your Wicked tix yet??)

[BlueWizard]

Posted: 11/24/04 at 4:22pm

Norman Jewison's your Chancellor?! Where's this at - Queens? York? (He's from Ontario, right?)

I go to Victoria College at the University of Toronto (U of T, due to its size and history, is based on the old British university system and is thus divided up into different colleges). Jewison is a 4T6 grad from Vic/UofT. I was actually the student representative on the selection committee that chose him as Chancellor. As an alumus, he's held a longstanding relationship with Victoria College; he donated a state-of-the-art movie screen for our theatre a few years ago.

Curious...how's the show selling in Toronto?

I think it's doing surprisingly well. I went on a Tuesday night expecting it to be pretty dead, but I'd say it was at 75% capacity. This is pretty high, considering how it wasn't well-advertised and was competing against all the other musicals in town (and also that Toronto's theatre scene is currently in a lull).

(PS. Have you bought your Wicked tix yet??)

Ooooh, thanks for reminding me Tiff! I believe they go on sale November 29th; I'm not a big fan of the show, but I am excited about the tour starting up here. It's going to be one hot ticket. Everyone I know wants to see it, even people who have nvever shown an interest in musical theatre; they just think the premise is cool.

[Type_A_Tiff]

Posted: 11/24/04 at 5:25pm

What's currently running in TO now? Has Hairspray closed already? I'm thinking of taking a little trip to TO in March (even though the Leafs obviously won't be playing - still bitter about the NHL) but I don't know what else will be in store! Is anything big coming up?

Edit - Is Mammia Mia closing in March?!

Updated On: 11/24/04 at 05:25 PM

[BlueWizard]

Posted: 11/24/04 at 7:20pm

What's currently running in TO now? Has Hairspray closed already?

No, Hairspray runs until this Sunday (I have tickets to the closing performance! Woohoo! Can't wait). Mama Mia seems like it's gonna run forever - to the best of my knowledge, it's not closing in March. Mirvish also has "A Couple of Blaguards" on right now; it's a two-person piece by Frank McCourt and his brother about their youth in Ireland. I don't think it's doing very well; Fall isn't the best season for Toronto theatre, with few US tourists and all the festivals (Shall, Stratford, etc.) closing up shop for the year.

I think Wicked is the only big thing in March in Toronto. But Stratford's 2005 season looks amazing, with Hello, Dolly!, Cat on a Hot Tin Roof, and INTO THE WOODS! It doesn't begin until late April though, so I recommend you come to TO then! (That way, you can also catch Wicked.)

[Type_A_Tiff]

Posted: 11/24/04 at 7:32pm

Good call! Any big names at Stratford this year? I wish I'd seen Paul Gross in Hamlet, or Colm Feore in...anything.

[BlueWizard]

Posted: 11/24/04 at 7:43pm

Seana McKenna is in something called "Fallen Angels". That's about it.

I know they were pushing for someone to be the new "Stratford leading man" last year, but when they cast him in Macbeth, he completely fell flat. I hope they're on the lookout for a new leading man, because that guy lacked charisma or even skill - he couldn't handle the iambic pentameter.

I really wish Brent Carver would do more theatre year-round. He was phenomenal in "Vigil" last month, as was Martha Henry (although she had no more than a dozen lines in the play). He is an actor I could spend all day watching.

Seriously, I'm looking at the Stratford season next year and it looks AMAZING! I seriously think you should postpone your trip until April; Toronto is kinda mucky in March anyway.

[BwayTheatre11]

Posted: 11/24/04 at 8:53pm

I have to agree with you on Natalie. More and more I think about how amazing her performance was.

Personally, I thought Polk was great!

Updated On: 11/24/04 at 08:53 PM

[George_Lucas]

Posted: 11/26/04 at 6:10pm

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Wicked little site and super cool forum too!

Later
www.studentgreenroom.com