Aaron LaVigne and the company of the North American Tour of “Jesus Christ Superstar.” Photo by Matthew Murphy & Evan Zimmerman. Used with permission.
Not your grandma’s “Jesus Christ Superstar,” indeed. On the occasion of its 50th anniversary, the pop-culture phenomenon, created by Sir Andrew Lloyd Webber and Tim Rice, has been re-imagined. Currently on a North American tour, the provocative revival is currently playing at Clowes Memorial Hall at Butler Arts Center until January 23. I saw the show on its delayed opening night. It was supposed to open on Tuesday but was postponed to Wednesday due to the winter storm that hit Boston, delaying the arrival of the cast and crew. Broadway in Indianapolis is the show’s presenter.
Featuring lyrics and music by Emmy, Grammy, Oscar and Tony-winners Tim Rice and Andrew Lloyd Webber, this updated version of the revered musical is directed by Timothy Sheader and choreographed by Drew McOnie. The story of “Jesus Christ Superstar” takes place during the final weeks in the life of Jesus Christ, as seen through the eyes of Judas.
A sung-all-the-way-through rock opera, the musical reflected the cultural mores of its time when it was first presented. As far as my own experience as a reviewer and unabashed fan, I have seen numerous professional, community theatre and educational productions over the years and most recently, the NBC live television version that aired in 2021. The story, of course, is timeless, but like many others, the score is part of the soundtrack of my life.
Under 90 minutes in length with no intermission, the pace of the show is über-fast and frenetic, with no lull in the action. Having interviewed Aaron LaVigne, the dynamic actor who played Jesus, in advance of the show, I knew what to expect in terms of the treatment of the score, which is meant to be the main focus in this version. Played at a faster tempo than any version I have seen previously, the sound of the superb 12-piece band was exceptional, thanks to the show’s first-rate sound design, which featured a balance that was near flawless.
Aaron LaVigne and Jenna Rubaii and the company of the North American Tour of “Jesus Christ Superstar.” Photo by Matthew Murphy & Evan Zimmerman. Used with permission.
The pace of the show was also informed by McOnie’s vigorously dazzling choreography executed by the company’s super charged dancers performing movement and architecture similar to what I have seen in contemporary dance concerts, but not in musicals. The members of the ensemble also displayed their highly trained singing talents, as they interpreted Webber and Rice’s iconic score with a passion that was unequaled.
As far as the show’s lead, LaVigne gave a tour-de-force performance as Jesus, conveying a vulnerability and charisma that properly matched the description of the Savior well known to believers, who have followed his teachings and example to this day. Accompanying himself on acoustic guitar, LaVigne’s vocal performance in “Gethsemane” was spectacular, enough to be recognized with a standing ovation by some in the audience.
Jenna Rubaii, who played Mary Magdalene, more than did justice to the interpretation burned in my memory of Yvonne Elliman, who originated the role and is still heard on oldies radio singing “I Don’t Know How to Love Him.”
Eric A. Lewis, who was a last-minute replacement as Judas, took complete advantage of his moment in the spotlight as the treacherous and later-remorseful betrayer of Christ. Another vocal standout, Lewis was absolutely electrifying when he performed in “Judas’s Death.”
Speaking of electrifying, the same can be said of Tommy Sherlock as Pilate. In possession of a distinctive tone, Sherlock’s vocal and acting performance in “Pilate and Christ” was beyond compelling.
Aaron LaVigne & Tommy Sherlock and the company of the North American Tour of “Jesus Christ Superstar.” Photo by Matthew Murphy & Evan Zimmerman. Used with permission
The showstopper of the evening was the entrance of Paul Louis Lessard as Herod. Wearing a costume that defies description, let’s just say, designer Tom Scutt’s creation was worthy of the annual Met Gala that features avant-garde fashion.
As far as design, Scutt, who also designed the show’s industrial-flavored set and hipster hairdos, and set designer Lee Curran’s lighting, made for an ambiance and atmosphere that were stark in their eye-popping appeal.
Following the obligatory standing ovation that took place during the company bow, I couldn’t help but be surprised when I overheard an individual say, “I hated it,” as I walked out of the theatre. Perhaps it was a die-hard “JCSS” fan who didn’t like the new interpretation, or maybe someone who had never seen the show, but thought its retelling of Christ’s story was sacrilegious. But that is what that the best art does, it elicits a strong response one way or another. And in my opinion, the art I witnessed last night was among the best of what I have seen, thus far, this theatre season.
“Jesus Christ Superstar” tickets are available at Broadwayinindianapolis.com and Ticketmaster.com. The performance schedule is Thursday evening at 7:30 p.m., Friday and Saturday evenings at 8:00 p.m., Saturday matinee at 2:00 p.m., Sunday matinee at 1:00 p.m., and Sunday evening at 6:30 p.m.
