Jesus Christ Superstar

“Jesus Christ Superstar,” the 1970 rock opera by Lord Andrew Lloyd Webber and Sir Tim Rice, holds a special place in director Steve Isaacson’s heart. Isaacson’s Davis Musical Theater Company is now performing its third production, eight years after it was last performed.

The story is loosely based on the last week of Jesus’ life from just before the triumphant entry into Jerusalem and ending at the crucifixion. The story centers on the conflict between Jesus and Judas Iscariot, a story that is not told in the Bible.

You could not ask for a more authentic-looking Jesus than Nick Thompson (who played Judas in the 2009 production). You almost expected people in the audience to ask for his blessing.

But this is a stern, serious Jesus with little of the charisma that would show us why crowds were drawn to him. While he does not seem to have much of a change in mood, he’s at his best expressing his anguish at his upcoming suffering in the song “Gethsemane.”

Eddie Voyce is a marvelous Judas, tormented by “tormenters” Michele Stark-Burnett and Monica Parisi wherever he goes. Judas is increasingly upset that Jesus is starting to believe his own press and is getting too big for his toga.

Judas sees money spent unnecessarily that could go to the poor. He’s so upset that he goes to the Roman elite to turn Jesus in, but wants to be sure they know it’s for the best of all possible reasons:

“It’s taken me some time to work out what to do.
I weighed the whole thing out before I came to you.”

His anguish at being forced to sell his former friend for 30 pieces of silver is palpable.

A break-out performance in this production is Pablo Frias as Caiaphas. Though this is Frias’ first musical theater production, his booming basso voice and commanding presence make him the focus of any scene in which he appears.

Likewise, the old pro Gil Sebastian fully inhabits the character of Pontius Pilate, who tries so hard to get Jesus to talk, and who wants desperately to find a way to keep him from being put to death.

Rachael Sherman-Shockley, who made such an impression as Dr. Jekyll’s virtuous fiancée in “Dr. Jekyll and Mr. Hyde,” goes in the other direction, playing the woman of easy virtue, Mary Magdalene, who doesn’t know what to make of her attraction to this Jesus.

“I don’t see why he moves me
He’s a man. He’s just a man
And I’ve had so many men before
In very many ways
He’s just one more”

Her “I Don’t Know How to Love Him” may be the best-known of the songs from this opera and she gives it all the intensity that it needs.

Comic relief from the more serous action is offered by Quintin Casi as King Herod, dressed as a modern-day lounge singer, with scantily clad Charleston-dancing girls as back-up. It was a favorite moment in the show.

In lesser roles, Kara Wall shines as Annas; Leah Frazier, with the Anne Burrell Hair, is a strong Simon Zealotes; while Timothy Dimal gives a credible performance as Peter and Richard Kleeberg does double duty as both a priest and a Roman soldier.

The ensemble — from their opening “What’s the Buzz,” through the Palm Sunday “Hosanna,” to the “Crucifixion” finale — are all wonderful, whether apostles, followers or sick people looking for a miracle cure. Pamela Kay Lourentzos has done a marvelous job of choreography.

There are no sets to speak of, other than a few platforms on the otherwise bare stage. In fact, the only “set” piece is the crucifix at the end. The show does not demand a set but lighting designer Isaacson has created some inventive lighting designs.

DMTC once again has done Steve Isaacson proud with this latest production of “Jesus Christ Superstar.”

Jesus Christ Superstar

Musical theater has a tradition known as the '11th hour number.'

It comes about midway through the second act, when the audience may be getting tired of sitting for so long. It may be bright and funny, or emotionally stirring. It's designed to make you sit up and start tapping your toes, or perhaps whisper 'Wow!' to your companion.

If a show isn't doing well, the 11th hour number can make you forget all the bad stuff that came before.

The 11th hour number in the Davis Musical Theatre Company production of Andrew Lloyd Webber and Tim Rice's rock opera, 'Jesus Christ Superstar,' is 'Herod's Song.' Paul Fearn's Herod - dressed in an outlandish zoot suit that must be seen to be believed, and backed by a colorful assortment of dancers - easily steals the show.

Following tradition, 'Herod's Song' actually marks a turning point and seems to rouse everybody on stage.

This is one of the things to like in this production, which covers Jesus' life from Palm Sunday to his crucifixion.

Steve Isaacson's direction is satisfactory and appropriate: The action takes place on an essentially bare stage with a platform, all in front of the onstage orchestra, which has been let out of the pit. The production has some beautiful moments, such as the Last Supper and the final tableau, which is breathtaking.

Rand Martin's choreography is delightful; all the ensemble numbers work and are executed quite well. The Palm Sunday number, 'Hosanna,' is a lot of fun.

Jean Henderson's costumes always enchant, and she has outdone herself with Herod and his entourage.

The chorus members are well rehearsed and sound quite good, and we're willing to forgive the fact that most of the Apostles are female.

Some of the minor players are excellent. Eimi Stokes draws great applause as Simon, in 'Simon Zealotes.' Adam Sartain's Annas is noteworthy, and Andy Hyun (Caiaphas) has a marvelous bass voice ... although the music occasionally dips too low even for him.

Tony Osladil is memorable as the anguished Pontius Pilate, who wants to wash his hands of the whole business - 'If this man is harmless, why does he upset you?' - but ultimately is forced to send Jesus to his death.

All that said, this show's success rests on the big three: Jesus of Nazareth, Judas Iscariot and Mary Magdalene.

Judas is falling apart, because he fears that this man he has followed and loved is becoming a stranger, and is being influenced by the adulation of the crowds. Judas also is concerned about the deepening relationship between Jesus and Mary, a woman of questionable virtue.

Judas comes to believe the only way he can stop what he sees happening, is to collaborate with the enemies of Jesus and assist in his capture.

I've wrestled with how to handle my commentary about Judas. Given that this is community theater, with a volunteer cast of amateurs - people doing this for the love of it - it may be best to give this particular actor the benefit of the doubt, and hope that I caught him at a bad time.

The opening night performance was so bad that I've decided not to embarrass the actor by publishing his name.

I imagine this is what Jesus would have done, under similar circumstances.

I wanted so badly for this actor to be good ... or at least to get better, as the show progressed after its excruciatingly painful opening number. But he didn't, and it hurt to listen to him, although he certainly put heart and soul into the character's anguish.

David Holmes' Jesus is best during his quiet moments. His voice is beautiful and controlled, but during the more intense scenes he tends to shriek, often winding up off-key. Holmes did, however, improve throughout the opening night performance.

One can only hope, as he settles into the role, that he'll control his musical emotional outbursts as well as he handles his tender moments. He obviously has the ability to do so.

Emily Cannon-Brown makes a lovely Mary Magdalene, obviously in love with Jesus, but not certain how to handle a relationship with this man, the likes of whom she never has encountered. Sadly, Cannon-Brown also tends to be shrill, and she occasionally wanders off-key during her songs' most emotional moments.

Actually, even the technical end of things seemed not quite ready on opening night, with a body microphone or two that went off and on with irritating regularity, and some steps that initially weren't anchored; I worried every time someone used them.

All told, this show is uneven. I'm hard-pressed to say whether the good outweighs the bad. If Holmes can better modulate his more intense moments, he and Fearn (Herod) would make this 'Jesus Christ Superstar' worth seeing.

And let's just hope Judas improves as the run continues.

Jesus Christ Superstar

In preparing for his third production of “Jesus Christ Superstar,” Davis Musical Theatre Company director Steve Isaacson set out with one goal in mind: “put great voices on stage with a great orchestra and let people enjoy themselves.”

Judging by the standing ovation from the near sell-out crowd at the Varsity theatre, at the conclusion of Saturday night’s performance, he succeeded.

The 1971 Andrew Lloyd Weber/Tim Rice rock opera, running through February 1, essentially traces the story of Jesus from Palm Sunday through the crucifixion and has enough musical intensity that you need little other than a hint of set and a strong set of singers.

While the story is about Jesus’ last days, the central figure really is Judas Iscariot, who has become disillusioned with all the hoopla surrounding this man he has followed for so long. He feels that the followers of Jesus have become fanatical and unrealistic in hailing him a god. He’s afraid Jesus is starting to believe his own press (“You’re starting to believe all the things they say of you; you really do believe this talk of God is true.”)

As he watches his interactions with Mary Magdalen, his anger at the temple, turning on the money lenders, and growing weary of the cripples asking to be healed, he questions more and more the nature of this man...he sings “I just want to know...”

Judas, like Che in the later Weber/Rice musical “Evita” acts as the moral conscience for the show and one needs to have a strong presence in the role. Director Isaacson has found him in Brian McCann. This DMTC veteran has always given solid performances and he does not disappoint in this production. We feel his pain when she sings that he simply wants to “strip away the myth from the man.”

Fulfilling the promise he displayed in DMTC’s earlier “Showboat,” Tev Ditter makes a wonderful Jesus. This is a human Jesus, one who can be moody, who gets angry, who knows his death is approaching and is afraid, who is disappointed in his followers.

Amber Jean Moore is a long way from Ellie May (“Showboat”) or Sandy (“Grease”) in playing Mary Magdalen, but she’s perfect in the role. She obviously loves Jesus, but this is a new love for her and she can’t quite work out what it is. Her “I don’t know how to love him” was very tender and poignant.

One of the consistent problems of community theatre, especially in a town as small as Davis, is that there are more good women available than good men. Thus what was intended to be a predominantly male show is actually quite female-heavy. Eight of the apostles are women, including Simon (Melody Davi).

Likewise two of the priests are women and Lenore Sebastian as Annas makes you wonder why this hasn’t always been a woman’s part. She handles it with the professionalism she brings to every role. No one in the audience would be wishing that a male had filled the role.

As Caiaphas, JD Diefenbacher, in his second role with DMTC gives a commanding portrayal as the high priest.

Gil Sebastian was born to wear a toga. He plays the anguished Pilate, wanting to wash his hands of the whole business. “If this man is harmless, why does he upset you?”

Michael Miiller brings comic relief with his 1920s version of King Herod dancing with his “Herod Dancers,” Katy Fast, Katherine Gohring, Dian Hoel and Holly Newell, their flapper costumes in stark contrast with the solemnity of the Biblical costumes. (Good work by the always-professional costume designer, Jean Henderson).

The mood of the piece is greatly enhanced by the lighting design of Mike McElroy, whose pools of light for Jesus are particularly good.

Now that DMTC has been so good to Jesus, one hopes that Jesus will return the favor and give them a theatre with good acoustics. As always the Varsity Theatre swallows a lot of the words, especially bad in this show, with the orchestra right on stage. Even the body mics for principals I know from other productions have wonderful diction and project beautifully couldn’t help that problem and the chorus, which could have used a bit more oomph, was very difficult, if not impossible, to understand in spots.

Still, this is a strong DMTC production and provides a solid evening’s entertainment.