By Brontë H. Lacsamana, Reporter
Theater Review
Jesus Christ Superstar
Performances run until May 31
The Theatre at Solaire in Parañaque City
JESUS CHRIST SUPERSTAR explores the events in the final week leading to the death and resurrection of Jesus Christ as seen through the eyes of his betrayer, Judas Iscariot.
Told entirely through song, it’s the personal relationships and struggles among Jesus, Judas, Mary Magdalene, Jesus’ disciples, his followers, and the Roman Empire that make this musical particularly interesting.
Disclosure: I approach this review as a JCS newbie, never having seen it in full before.
Like this international touring production’s resident director Richard Pitt said (See the sidebar. – Ed.), the unique combination of talents for this Manila stop resulted in a completely different flavor of the show. This one was mostly clean and sharp, with key moments of impact, though ultimately it played things safe.
The vocals were great, electrifying in parts and accompanied by a solid live band, led by musical director Harry Haden Brown. Meanwhile, the ensemble choreography let the material live and breathe in its own world filled with both worship and unrest.
The costuming was interesting, with everyone in modern active wear save for the eye-catching Sanhedrin, dressed in their sweeping robes and holding imposing staffs, which also doubled as microphones. Another awesome detail is in the staging, with a cross-shaped runway which the actors walked on, and used again later as the Last Supper table in a picture-perfect moment.
Among the cast, understudy Joshua Bess (subbing for Luke Street who had not arrived in Manila yet) and Javon King’s rapport as Jesus and Judas was electric. At times it may have seemed like King edged out in terms of vocals and depth of emotion, as he bared his soul and stained his hands with silver, but Bess’ rocker wailing came through at the height of certain showstoppers, namely “Gethsemane.”
The angelic voice of Gab Pangilinan, who plays Mary Magdalene in the Manila leg of the tour, made “Everything’s Alright” quite memorable and tinged her rendition of “I Don’t Know How to Love Him” with bittersweet emotion. Her addition was a source of vocal stability in a rock opera filled with such contrasting voices.
The most striking contrast would be within the Sanhedrin troupe, with Grant Hodges’ Caiaphas in a bass baritone and Kodiak Thompson’s Annas in a countertenor. Every scene with them in it held people’s attention.
Two powerful scenes that left an impact were the scourging of Jesus, with Hardy Benson’s Pilate counting down the lashes laid on Jesus’ back in an explosive buildup of energy; and Erich Schleck’s campy song and dance number as the drag queen-ified King Herod strutting in high heels around a beaten Jesus.
The final number, the titular “Jesus Christ Superstar,” ends in a triumphant, tragic, and thought-provoking note, all rolled in one, and it’s a good introduction for those who aren’t huge fans of the show and only know some of the songs.
Chalk it up to personal preference, but some people may be underwhelmed, especially those who prefer their rock musicals rawer and grittier than the clean look, sound, and feel of this production. But this iteration of Jesus Christ Superstar deserves a warm welcome, with a strong cast and crew that have imbued the material with their own identity.
