If the crucifixion happened in Times Square, I now know what it may have looked like.
Want to know? Go see Jesus Christ Superstar at the the Neil Simon Theater.
Here's my quick review – If you're a traditionalist, you're not going to like the new visuals. If you're open to something new, you should give it a try.
My two word description of the Des McAnuff revival of the show - industrial antiquity.
When they come on stage, Jesus and his disciples seem almost like futuristic refugees.
I admit, I was a little concerned when I saw the modern set a la RENT. But, I decided to go with it. Everything from the sliding steel stairwells to crucifixion on a bed of bright light bulbs grows on you and by the time its done you may even appreciate the electronic ticker. Yes, there really is an electronic ticker on stage.
You're going to have to get used to that ticker right from the beginning. You know, those digital boards that scroll information. Well, the one on the stage is your scene setter – time, place, and eventually it becomes a digital blood display for Jesus' flogging.
I know, you're probably curling your lip, not so sure how this can work, but trust me, it does. While individually some of the pieces seem odd with this story, combined, it was a very creative work of art.
There's a lot of motion in the show. From fight scenes with Roman guards that look like they may have had gotten some clothing tips from Battlestar Galactica to modern dancing scenes that would give a Zumba workout a run for it's money. And pieces of the set are frequently mobile. There are a pair of steel stairwells that shift around the stage in nearly every scene taking on different roles, even the eventual rack where Jesus takes his 39 lashes.
It's not all new though. The music is old, harkening back to the original Andrew Lloyd Webber / Tim Rice brown album – a rock opera powerhouse with those soft folk moments and the orchestra recreates it beautifully.
My issue with the show? I did not find myself connecting to Jesus in the first act. This is not saying Paul Nolan didn't do the role justice. During the dramatic moments in the second act, he was excellent, but I didn't like the concept that Jesus was so focused on his mission, the sacrifice to come, that he was almost too calm and distant. I understand the concept, I just didn't like it. I prefer to connect with a character, really let myself become one with what is happening on stage and I didn't feel that connection with Jesus.
There was also a moment at the end when he is preaching. I wanted to hear him but he was drowned out by the music. Perhaps that was the idea, my chance to ponder what he may be saying to me, but I found it a frustrating moment, not a contemplative one.
The cast stand-out was Simon Zealotes played by Lee Siegel.
For the first half of the first act he was ensemble, but got your attention. Call it an aura, a presence, he has that 'it' people talk about. When you see him, you are drawn into him before he even does anything and when he does sing, he delivers the goods.
And the WIOW voice - Marcus Nance and his bass notes as Caiaphas that almost vibrate the theater!
*Photos and Video courtesy of Boneau/Bryan-Brown
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