Jesus Christ is super stressed out, man.
Connecticut Repertory Theatre has restored Andrew Lloyd Webber and Tim Rice’s raucous religious rock opera to its 1970s origins, with a chorus of hippies, some soulful Motown-esque interpolations and a relentless anti-authoritarian vibe.
It’s a rather dark vision — somber and spiteful rather than fast and loud. The show, which concludes the CT Rep’s 2018 Nutmeg Summer Series, runs through July 22.
In this flashy, slick production, the iconic characters in this modern take on the biblical New Testament strike arch attitudes early on and stick with them for the whole show.
Some of the more novel interpretations work far better than others. Sasha Renae Brown brings some soul/ R&B techniques to the soothing love songs of Mary Magdalene — songs which in the ’70s and ’80s were the province of folk-pop and soft-rock vocalists such as Helen Reddy and Judy Collins. Brown’s showcase solos of “Everything’s Alright,” “I Don’t Know How To Love Him” and “Could We Start Again Please?” are uplifting just when you need a break from all the darkness and pain.
Jonathan Cobrda gives a fiery performance as Pontius Pilate. He shouts and preens and seems highly annoyed at even having to be in the same room as Jesus Christ. It’s a consistent, focused, high-energy portrayal with big doses of comedy and brutality. Yet Pilate is a character whom we are used to seeing transformed by his interactions with Jesus, as the savior’s fated crucifixion draws nearer. Cobrda’s Pilate is as perplexed and put-off when we first see him as he is many scenes later. No development, yet entertaining nonetheless.
Most problematic is Jesus himself. Tim Rice’s libretto is brilliant in how it allows us to see Jesus differently than he is usually portrayed onstage. Here he is full of contradictions, has a variety of human flaws, and his leadership qualities are openly questioned.
But mostly he’s upset and angry and anxious. Alex Prakken’s plays this edgy, pissed-off angle to the hilt. But he rarely shows the beatific demeanor, calm contemplative manner or convincing rhetorical skills that presumably made Jesus popular in the first place. In this production, you wonder early on why he still has any followers. When he visits the out-of-control temple in Jerusalem, Jesus freaks out, kicking and screaming before he’s adequately explained his issues. (“My temple should be a house of prayer, but you have made it a den of thieves!”)
The first character to poke Christ and incur his wrath is of course Judas Iscariot, who is the true star of “Jesus Christ Superstar.” Ryan Vona sings strongly and brings an ‘80s rock star swagger to the role, but isn’t strong enough to stand up to Prakken’s perversely pushy Son of God. When Jesus and Judas get into a shoving match, Jesus is by far the more threatening character.
Prakken sings some of Christ’s most vulnerable, soul-searching numbers through gritted teeth and with a scowling expression. He’s defensive rather than reflective. When he intones “Why should I die?,” he acts more like it’s an open question than a philosophical statement.
Who’d think you have to worry about establishing the character of Jesus Christ? Turns out you do. I’ve seen plenty of dark, unremitting productions of “Jesus Christ Superstar” but never one in which I cared so little about the title character.
It doesn’t help that director Terrence Mann has turned the show’s overture into an encapsulation of the entire plot, with Jesus’ apostles dancing while Pilate, Caiaphas (Tyler Grigsby, quietly menacing) and Annas (Bryan Mittelstadt, amusingly weaselly) arch their eyebrows and point their fingers with scorn. It’s too heavy and busy an image to be hit with right away. The whole show becomes about persecution. We’re sadly distracted from thinking about hope, peace and the hereafter.
Still it’s nice to see a fully staged “Jesus Christ Superstar.” So many productions these days are concert-style with minimal sets and props. Some of Mann’s nicer directorial touches are a Leonardo DaVinci-esque Last Supper tableau and a first act ending that turns the villainous croon of “Well done Judas, good old Judas” into an extended creepy-beautiful choral harmony.
After a promising start when a guitarist plucks a guitar out of an onstage box and plays the first memorable notes of Lloyd Webber’s riff-heavy score, the seven-piece orchestra doesn’t end up rocking as hard as they could. There are some impressive drum solos and occasional bursts of creativity on the keyboards, but otherwise the band is careful and steady.
During the July 13 performance, Simon Longnight (just as lively and amiable as he was earlier this season at CT Rep in “Disaster!”) launched into his big first-act number as Simon Zealotes (“You’ll have the power and the glory”) with a malfunctioning microphone. The band immediately adjusted its playing so that Longnight’s voice could be heard above the music.
This was the kind of moment that made you realize that this classic rock musical works better as “rock” than as “musical.” A band adjusts on instinct to make the singer look good. Songs sound better as stand-alone showcases than when overwhelmed with “acting.” The crowd numbers (choreographed by Christopher d’Amboise) are filled with joyous abandon, as if these first-generations Christians are cavorting at an outdoor festival.
JESUS CHRIST SUPERSTAR plays through July 22 at Harriet S. Jorgensen Theatre, 2132 Hillside Road on the UConn campus in Storrs. Remaining performances are Tuesday through Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Tickets are $15 to $60. 860-486-2113, crt.uconn.edu.
