Each production of Jesus Chris Superstar that I have seen, on stage and the movie, has a very fine linear parallelism of characteristics, but there are also always some noticeable differences. The similarities that have amazed me most are each director’s ability to find an appropriate actor to fill a role that contains the same vocal quality and mannerisms of a particular character while also having the necessary talent to play that character. Over the years, I’ve witnessed different actors take on the feminine, silky vocal stylings of King Herod while also maintaining his character’s goofy external demeanor; I’ve witnessed different actors in the role of Caiaphas who can amazingly belt out their lines an octave lower than all the other male vocalists, and do it with style and meanness; and I’ve watched different actresses, of different ethnicities, fill the smooth, soothing head-voice of Mary. In all of these productions, the one actor who did not change was Ted Neely, always filling his role as Jesus with the same gusto and grace as before.
All the qualities described above can be attributed to the 2008 production of JCSS, directed by Dallett Norris and choreographed by Arlene Phillips. Ted Neely, having played Jesus for about 30 years now, was every bit as powerful and sorrowful. Perhaps the most unique enactment of their character in this production, however, was Corey Glover’s version of Judas, which seemed to add just a little more funk than the previous Judases I’ve seen and heard.
The major difference that I noted between the 2008 production and others I’ve seen was in the quality of the production itself. Perhaps my mind is forgetting the past, but it was the combination of the lighting, the costumes, the sound affects, the instrumentation, and the actors’ vocals in the 2008 production that stood out to me as a superior stage production.
The lighting was the first aspect of the production, visually, to make an impression. Each moment of the musical was emphasized by strategic colored lighting. The colors and direction of the lighting highlighted each musical note, emphasizing the mood of each song; criss-crossing red hues set a solemn tone, bright white spotlights captured Judas, not letting him escape his own guilt.
The lighting also complimented the costumes as colors, shapes, and degrees of light and darkness worked together to create dramatic shadows. The fabric was not fancy, and the colors were solid, but they were just the right colors to affect a scene, adding beauty and dimension.
Then there were the special effects that were unexpected, always in conjunction with a moment of Neely vocal madness. When Jesus was angry, lashing out at God or at others, God would react with earth-shattering explosions of sound, light, and smoke, all of which rocked the audience down to our bones. It was intense. But not overdone.
As for props, very little at all were used. The sets consisted only of a bridge with a couple ladders on either side, and huge silk tapestries that provided the backdrop during different scenes.
A scene in which all of the elements of the production worked amazingly well together was “The Temple,” when the costumes, the dancing, and the music combined was almost overwhelming. But the scene with the lepers was the most unique of all iterations of the show. The instrumentation slowed down more than usual and became extremely funky, with staccato rhythms and percussive vocals. The lepers’ bodies were buried under a green, silk tapestry, which swayed and waved over them as only their heads were visible.
The instrumentation in general was actually funkier and more electric sounding than other productions I’ve witnessed, and helped set apart the 2008 production yet again.
One of the most impressive aspects of the musical, in addition to all of the tangibles previously described, were the vocals of each and every actor in the show. When singing together, the chorus would maintain a consistent sound, working together dynamically. Individually, however, the vocals were breathtaking and heart breaking.
Aside from Glover’s rendition of Judas (I’ve been a fan of Corey Glover for several years), my personal favorites were Matthew G. Myers’ Simon and Craig Sculli’s Pontius Pilate. Coming from a short, chubby white guy, Myers’ vocals in “Simon Zealotes” were so large and soulful that I craved to hear more of him. Likewise, Sculli’s emotionalism in “Trial Before Pilate” made my heart race to listen to him. One of the most heart-breaking vocal moments in the production was when Glover, whose style was chesty and funky the rest of the time, broke down into a soft yet deep head voice during “Judas’ Death.” I found this brief solo to be his most well-acted and well-sung moment in the musical. And then there was Neely. I didn’t really believe it when during a phone interview Glover told me that Neely’s voice was even better now than it was 30 years ago when he began his role as Jesus, but now that I’ve seen this 2008 production, I believe. I don’t know how it’s possible, but the man can both sing and scream (in tune, for about 30 full seconds without faltering) with such emotion and power that the audience gasped with simultaneous awe and joy. His solo “Gethsemane,” which has always been my favorite song in the musical along with “Heaven on Their Minds,” was the most amazing performance in the whole musical, and brought tears to my eyes.
The final scene of the production was perhaps the most visually powerful scene of the entire production. As Neely hung from the cross, he heaved and gasped, contorting his body and chest in such a way as to look measly, sick, and starved. He truly appeared to suffer. And when he finally died, his body, held by invisible lines of some sort, lifted from the cross and was ever so slowly raised up, still in the crucifix position, disappearing through the top of the stage. Though a simple and cliché image, the vision of his spirit ascending to heaven was terribly beautiful and emotionally powerful.
Aside from a few somewhat cheesy hand gestures (such as when Jesus would inaudibly speak to His Father, or when Judas would communicate with Jesus and the other apostles) that were repeated throughout the show, the production as a whole was amazing. And though I was fortunate enough to have been given press seats by the company, I have offered to buy tickets for my sister so that she can enjoy the production, and I am tempted to try to find another venue at which I may see the show. I want to experience it again. But for now, I will try to hold the memory of the sensations felt from my seat in the audience tightly in my soul.
To read an interview with Living Colour frontman Corey Glover (who played Judas), see Corey Glover as Judas from last month’s issue click here.
