Performance Date – 1 March 2012 (First Preview)

Des McAnuff’s stellar new production of the rock opera classic “Jesus Christ Superstar” is all about timing. From the opening guitar riff, we are reminded, via elaborate supertitles, that this story takes place in the distant past. The director has made use of this theatrical convention to advise the audience to the timing of the piece, to remind us that this is all happening in the final week of Christ’s life, with an added bonus effect that hints that we are truly witnessing a night at the contemporary opera. With a static set and all-too-familiar costumes, we are gently shown that this timeless story is being presented for us in the rough economic times of the 21^st century in the US. This production seems to strip down the story and simply present to us the final days of Christ in a humble and compelling manner, so that we are able to see the man behind this legend.

How times have changed. The voice types that we are now familiar with are a mere piece of the puzzle that makes up this “Superstar.” We have become accustomed to the rock tenor as well as the pop tenor, so much so that this version definitely challenges itself to represent each with a characteristically different example of the ‘norm’, and it is painfully evident that Jesus is rock and Judas is pop… perhaps an artistic comment on each, but, none-the-less the casting is fantastic if they are trying to prove that point. In fact, casting is a good deal of what make this production stand out from others that have come before. The artists that are playing for us are all, equally skilled in their respective vocal types and create a multi-layered canvas on which the director has painted this story.

With all the vocal agility to be witnessed here, one particular show-stopping number is brought about by a new-comer. Lee Siegel, in the role of Simon the Zealot. He has a moment in the middle of Act I where his vocals transcend the normal ‘this-is-the-story-telling-part-of-the-show’ and create a ‘holy-wow-did-he-just-do-that’ moment. This is his Broadway debut, and one he should be very proud of. This reviewer is SURE that he is here to stay (and I’m sure that his direction and writing credits will be put to good use in his new home-town).

Unfortunately, I will add that this production seemed to lack that special magic essence of “heart” that would seem to be inherent in a re-telling of Christian beginnings, and perhaps that’s what comes of attending a performance on the first preview, but, all-in-all I would highly recommend this version of “Superstar” to anyone who has yet to meet this classic piece of musical theatre history.