Jesus Christ Superstar
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Blake, Charles before disciples
Photo by John Szura
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By Ben Miles
Though the gospels tell us of the apostle doubting Thomas; for the sake of drama, it is actually more interesting to contemplate Judas, not so much as a betrayer of Jesus than as a person who also had doubts about the divinity of Christ as well as the inchoate Christian movement. What's more, it is a challenge to the conscience to be asked to re-consider Judas as a sympathetic character.
Nonetheless, this is what Tim Rice and Andrew Lloyd Webber did in their 1970 collaborative sensation, Jesus Christ Superstar. Recently there's been news of the possibility of an extant Gospel According to Judas, but Rice and Webber were onto that notion way back in the 20th century. And though this alternative take on the passion play garnered more than its fair share of controversy, diatribes, and demonstrations, back in the day, it also propelled to new heights a genre of musical theater now known as Popera, or Rock Opera.
Further, the furor over Superstar's radical retelling of the Christ story has subsided over the decades. Many mainstream church groups now regularly stage the show. Currently on the local boards, however, we have the Attic Theatre's energetic re-envisioning of the passion of Christ. Not only does Judas maintain a rather rational, if often emotive, voice as the central antagonist here; he, in this incarnation, happens to be a soprano-singing she. Surprisingly, this character tweak works well (Blanch Ramirez is in so many ways cast against type as Judas; nevertheless, the performer lends to the character her unmitigated effort, occasionally at the expense of nuance.) Moreover, Pontius Pilate is portrayed enthusiastically and emphatically by an actress. (Pamela Taylor as Pilate is one amongst many top-caliber performers in Superstar.)
Intriguingly, director Derek Charles Livingston has transported the entire scenario of holy devotion and sacrifice to the present day. We witness "televised" reports regarding turmoil in the Middle-East. An imperial invader is occupying the "fertile crescent." There's homegrown opposition to the heavily fortified military that enforces the occupation. Factions are formed; insurgency is in the air and on the minds of both the occupiers and the occupied. A resistance leader has risen (no pun intended). He is called Jesus, and he has an influential following.
The ruling religious faction is threatened by this man and his fellow travelers. Soon the foreign conquerors are also at odds with Jesus and his band of unapologetic upstarts. As Rice and Webber's original conceit was influenced by the tumult of the 1960s--including the Vietnam War protests and the Civil Rights Movement--Livingston fuses this Superstarto the textures of the 21st century. One way to account for the enduring success of what some have coined "The Greatest Story Ever Told," is that it holds meaning and inspiration that can be projected into and onto any era of human activity.
Kudos to Livingston and his able ensemble for injecting currency into this poignant production. From Herod-- sporting a George Bush-in-a-flight-suit look, and delivering his harangue in King Herod's Song (a vicious and delicious rendering by Steve Owsley) to the Judas' Death number, portrayed as a torture scene from Abu Ghraib--this Superstar is as relevant as it is resonant.
With simple orchestrations (Richard Berent gives musical direction) that enliven the memorable Rice/Webber score, we see a Jesus that is as human as he is humane (a pleasantly translucent Scott Charles), as well as a beautifully self-conscious Mary Magdalene (Jennifer Blake's rendition of "I Don't Know How to Love Him" sounds lovely, and she looks simply radiant).
Chris Turner as Annas; John Szura as Caiaphas; and Dane Whitlock as Peter brand their characterizations with uniqueness, intensity, and urgency. These are also the qualities that best describe this incarnation of Superstar.
Jesus Christ Superstar continues through May 10. Show times are 8 p.m. Fridays and Saturdays, with a 2 p.m. performance on Sundays. The Attic Theatre is located at 5429 West Washington Boulevard, Los Angeles. For reservations, dial (323) 525 - 0600, ext. 2. For more details, visit, www.attictheatre.org.
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