Jesus Christ Superstar

    Andrew Lloyd Webber is the McDonald's of musical theater. We all know that it's not good, and that most of it has been ripped off from some other poor little mom and pop restaurant, yet we still leave humming the big mac. I go back and forth as to which is my favorite item on the ALW menu, and after seeing this production, for the time being at least, it's Jesus Christ Superstar.

   The buoyant production now being presented at the Neil Simon Theater originated as part of the Stratford Shakespeare festival. Nobody on Broadway was really clamouring for a revival of Superstar especially considering the last revival just twelve years ago was a commercial flop. (though it did manage to eek out four weeks more of performances). This particular production, however, was much acclaimed by critics and Canadians alike, and so talk of moving it to Broadway after another pre-scheduled run at the La Jolla playhouse in CA surfaced.

     Audiences and critics in CA also praised this new production, and plans were made to bring the show into New York for a spring Broadway Bow. The plot needed be discussed, but for those who are unfamiliar, it's basically The Passion of the Christ meets The Who's Tommy.

     Des McAnuff's direction is wonderfully intricate. It brings out nuances in the piece that I have never seen before. You feel that each character has his own specific journey, and important part to play in this grand opera. Particular attention is paid the relationships between Jesus, Mary Magdalene, and Judas. Not that there isn't usually particular attention paid to these central characters, however, in this production something is different.

   Different also is the urgency we feel right from  the beginning. We get the impression right from the haunting opening electric guitar riff that things are not good in Judea, and some shit is about to go down. The opening is wonderfully choreographed by Lisa Shriver. Howell Binkley's lighting design is magnificent and Robert Brill's set design works well as both a functional set. and almost as a character in the piece. The costumes by Paul Tazewell are equally effective.

    Josh Young is bringing something very special to the role of Jesus. His Tony nominated performance is a conflicted mass of Admiration, Love, Disdain, and contempt. His voice is also magnificent. As Mary Magdalene Chilina Kennedy has brought a new, post Davinci code depth to the role. All the usual layers are there, plus  a bit of something else - a longing perhaps,  that is deeply felt from the audience. Paul Nolan's Jesus is the only (very minor) week link. While vocally powerful, he doesn't bring nearly half the depth to his character as his costars do. Though we do see a side of Jesus that we don't often see - The rebel, the rabble rouser, the heretic. Though this is probably more due to Des McAnuf'fs sterling direction that to Mr. Nolan's performance.

    The supporting cast is led strongly by Tom Hewitt as Pilate, who should have been nominated for a Tony as well for his insane rendition of Pilate's dream. Bruce Dow is funny and ferocious (in a scary way) as King Herod. For the first time during that song - I felt the danger that Jesus was in. Marcus Nance's deep basso bravura gave me chills.

  This Jesus Christ Superstar is flying out of the Neil Simon Theater on Sunday July 1st, so get your tickets while you can. There are student rush tickets given out at the opening of the box office each day of performance for $28. The show is also frequently on TKTS, or if you prefer to buy in advance discounts can be found at Broadwaybox.com.