Heaven on Their Minds

Jesus Christ Superstar – Lyric Opera

 

British composer Andrew Lloyd Webber teamed up with lyricist Tim Rice back in 1970 to create a rock opera concept album that turned into a runaway hit. This sung-through musical, with no spoken dialogue, soon became a fully-staged Broadway production. Debuting just a year later, it was soon adapted into a popular 1973 film. Although nominated for five Tony Awards, the musical didn’t win anything, but Webber earned a Drama Desk Award as “Most Promising Composer;” and, ironically, this year he’ll be honored with a Tony Award for Lifetime Achievement.

The show is loosely based upon the life of Jesus Christ in his last seven days on earth. It became a controversial piece of theatre with audiences and critics for several reasons. Purists couldn’t bear hearing the Lord’s story depicted through rock music. Jesus was portrayed as simply a man, although a tragic figure, who became a leader, a teacher and a friend to the poor and downtrodden. However, Christ’s self-importance is seen as arrogant, eventually becoming dangerous and out of hand. Christians hated the show because they saw the treatment of Jesus as blasphemous. They also felt that the portrayal of Judas was too compassionate and the character’s criticism of Jesus way too disrespectful. Other theatergoers complained that the musical was antisemitic since most of the villains who tortured and crucified Christ were seen as Jewish. Yet, despite these criticisms, the show has always remained very popular with a solid cult following. It’s been produced all over the world and has toured nationally and internationally, spawning additional regional, educational and professional productions and multiple recordings.

Timothy Sheader’s awesome, exciting new production at the Lyric Opera of Chicago sets the bar even higher. At a theatre who’s name is synonymous with grandeur, polished professionalism and innovation, this is feast for the eye and ear. It’s a gorgeously sung, magnificently acted and technically superb version of a musical that could easily be transferred intact to Broadway. It’s both eye-popping and gut-wrenching. Seldom has the power and majesty of this story felt so real. Never has Jesus’ anguish and agony seemed quite as palpable. This multitalented cast not only brings a new earnest sensitivity and beauty to this piece, but the power of Rice’s lyrics and the richness of each character feels fresh and original. Mr. Sheader’s direction, coupled with Drew McOnie’s grounded, expressive and impressive choreography, all bristle with energy and excitement. The emotional arc that they’ve created travels across the footlights and into the audience. It’s not an overstatement that many theatergoers had tears in their eyes by the final curtain, and that they’ll never forget the impact of this Superstar.

The cast is unbeatable. Ryan Shaw is jaw-dropping as Judas Iscariot. He’s an antihero who sparks moments of sympathy as he sees his friend Jesus grow too big for his toga. He doesn’t know how else to stop Him from His ambitious ways, other than to betray Him. In this act we ache for what Judas has decided to do. Shaw’s vocal range is so impressive that audiences will fall under his spell from the very beginning, starting with his catchy “Heaven on Their Minds,” and culminating in his spectacular, much-awaited 11th hour, “Superstar.” 

Heath Saunders doesn’t model his Jesus Christ on the glorified Savior we find depicted in stained glass or tapestries. He’s a real, live, flesh-and-blood human being, filled with honest, insurmountable fears, doubts and confusion. He’s also a man who loves his friends and followers even more than himself. While Judas has a range that soars to the balcony, Saunders’ voice travels from his gentler lower notes to a stratospheric upper range. In all, Mr. Saunders is a much more grounded performer. It’s a perfect contrast, giving Jesus a controlled style that showcases his star quality. Mr. Saunders is honest and authentic in his musicality. Heath Saunders’ finest moment is his tour de force, “Gethsemane,” self-accompanied on guitar. In that single aria we see, hear and feel all that Christ has endured and still understands, as his final days on earth. Both of these actors are, indeed, Superstars.

Jo Lampert brings her own powerhouse vocals to her portrayal  of Mary Magdalene. The actress’ phrasing is a little freer and more organic than is often heard by other actresses in this role. However, in letting the words and intention of her musical monologues guide her, Ms. Lampert makes each song her very own. She musically soothes with “Everything’s Alright” and leaves it all on the stage with her “I Don’t Know How to Love Him.” In a final plea to return to more innocent times, she intones “Could We Start Again, Please?” along with a sweetly innocent Peter, nicely played by Andrew Mueller. But Ms. Lampert’s loveliest, most sincere moment, and a tribute to Timothy Sheader’s mesmerizing staging, is as the lone figure who weeps for Jesus as he writhes upon the cross.

Each member of the supporting ensemble is stellar, as well. Michael Cunio is solid as Pontius Pilate, the dream-haunted Governor of Judea who makes us feel his torment in having to deal with this rebel called Jesus. Cavin Cornwall is awesome as head priest Caiaphas, with his deep, ominous voice and commanding presence. Joseph Anthony Byrd is distinguished as priest Annas and Shaun Fleming is unforgettable as a show-stopping, gender-bending King Herrod, cloaked in a voluptuous gold cape, with a 28-foot train. Mykal Kilgore makes a sound impression as Simon Zealotes. The other disciples, the guards, the remaining high priests and the crowd are all played by the 39 ensemble members with passion and vitality. This magnificent, massive chorus sings, dances and acts as one impressive force that won’t soon be forgotten.

The Lyric’s impressive production is, perhaps, the finest of all its musical theatre offerings. The show sets the bar high for future productions. It overflows with emotion and so many exciting, luminary performances. Timothy Sheader’s radiant, intelligently guided and smoothly staged production, accompanied by Tom Deering’s full, rich orchestra, is an absolute masterpiece. Staged all over Tom Scutt’s impressive, multilevel set, and even out into the aisles, and lit by Lee Curran as a spectacle of concert lighting and eerie moodiness and shadow, this is a tale of mankind’s fear and hope. Sheader’s cast tells a never-to-be-forgotten story of a people and a time when Heaven was truly on everyone’s minds.           

Highly Recommended

Reviewed by Colin Douglas

 

Presented April 27- May 20 by the Lyric Opera, 20 N. Wacker Drive, Chicago. 

Tickets are available in person at the Lyric Opera box office, by calling them at 312-332-2244 or by going to www.lyricopera.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.