By ALAN SMASON, WYES-TV Theatre Critic (“Steppin’ Out“)
The latest production of Jesus Christ Superstar bowed this weekend, presented by the Jefferson Performing Arts Society (JPAS) at the Jefferson Performing Arts Center on Airline Drive in Metairie and there is a lot to like about it including a brilliant final scene intended to suggest the Resurrection.
Helmed by veteran director and choreographer Kenneth Beck, the work arrives a few weeks before the holy weekend of Easter, whose historic events are recounted through the music of Andrew Lloyd Webber and the lyrics of Tim Rice. There is no libretto for the work as the story is depicted entirely through the singing voices and actions of the stage actors.
The Gospels of Matthew, Mark, Luke and John are the basis for the work that describes the events surrounding the last week of the life of Jesus, his followers and his enemies.
Released more than a half century ago, Jesus Christ Superstar has been one of the regularly performed works in the musical theatre canon due both to its religious aspects and its significance as a creative, artistic work.
Originally billed as a “rock opera,” Jesus Christ Superstar is now acknowledged as a respected work that has been turned into several feature films, broadcast live on network TV and revived on Broadway three times. But when it first premiered, it drew the ire of church figures who considered it blasphemous or dangerous for the way Jesus and his apostles were depicted as more human rather than as divine figures.
Leading the cast as Jesus is New Orleans native Michael Moore, a graduate of the New Orleans Center for the Creative Arts (NOCCA) and a past JPAS Kids program participant. Invited by Beck to return to his home town for this production, Moore and his German actress wife Nadine Kühn, who plays Mary Magdalene, have traveled from Germany to realize roles they had never tackled before. Kühn understudied the role previously, but never played the only major female lead on stage. Moore had previously played Judas Iscariot, the other male lead, but had never portrayed Jesus prior to this production.
Playing the role of Judas is Jake Wynne-Wilson, who starred in an earlier JPAS production as the Prince in Rodgers and Hamerstein’s “Cinderella” and received critical acclaim for his role as the Emcee in Rivertown Theaters for the Performing Arts’ production of Cabaret.
Both Moore and Wynne-Wilson take several opportunities to interpolate many of the dramatic notes in the score, which, some may find jarring, but it should be noted they are very effective and give new nuance to their roles.
The tension between the two is the main focus of the work, which begins with Judas’ warning in “Heaven on Their Minds” and climaxes with the singing of “Superstar” that is then followed by the powerful crucifixion scene.
Both male leads render superb performances throughout the work. Wynne-Wilson’s accusatory passages leveled at Jesus are intended to demean Mary Magalene in “Strange Thing, Mystifying,” early on, but Moore answers him back and defends her.
This allows Kühn to take center stage with “Everything’s Alright” and, later, the pensive “I Don’t Know How To Love Him.” Her lovely instrument is heard again in the second act with “Could We Start Again Please?,” written for the screen in 1973 and now an expected part of the standard Superstar musical score.
Conducting the live orchestra is maestro Dennis Assaf, the JPAS artistic director, who has a marvelous time leading his musicians through their paces while hardly containing his joy in performing this classic rock-tinged score. The musical ensemble is composed of three keyboard players for electronic effects, two electric guitarists, a percussionist as well as a drummer, an electric bass player and a trio playing reeds (clarinets and saxophones), French horn and trumpet.
Max Dovale, who served on previous JPAS productions of The Sweet Potato Queens and The View UpStairs, returns as the music director with this production.
Playing two of the heavies, Torlef Borsting as Pontius Pilate and George Cordes as Caiphas add excitement to the cast, both of them having performed in legitimate opera productions across the country for years. Adriel Aviles as Annas, who recently played The Monster in the JPAS production of Young Frankenstein, is also noteworthy for his vocal and stage work.
The role of King Herod is designed to break the tension from the dramatic capture of Jesus in the Garden of Gethsemane to his eventual crucifixion. It is a genuine scene stealer and an opportunity for someone with legitimate comic chops to have fun with the role and give the audience some laughs before witnessing the pain and suffering Jesus will eventually suffer.
As Herod, Adam Segrave does not disappoint. In fact, he puts his own comedic stamp on the role, complete with a Beck-choreographed sequence in which he does the Charleston with a bevy of beauties behind him fanning every one of his outrageous breakout moves.
The most noted performances of the other apostles are by Matthew Welch as Peter, Ty Robbins as Simon Zealotes and Logan Breaux as James. While veteran actors Danny Rubio (Bartholomew) and Edward Spots (James, son of Alphaeus) assume roles as two of the older apostles, many of the other apostles’ roles are filled by younger actors, several of whom are still in school. This group includes Jackson Scott, Nathan Long, Tyger Hammons and Zene Syjansky.
A similar number of the remaining cast members are in the ensemble, who make a number of quick changes throughout the two acts playing a host of supporting characters. Among the standouts are Melissa McKenzie, Zinghan Zhang, Maggie Jaunet and Sasha Munchak.
Costumes are designed by Beck with Eddie Lockwood assisting as co-designer. Scott Sauber provides the exceptional lighting designs, while Amanda Bravender expertly handles the numerous wigs and makeup designs for this very large cast.
The set is dressed by Beck and renowned scenic designer Eric Porter. Kage Laney does a good job with the sound designs as well.
The design of the final scene is quite noteworthy and brings the musical passion play to a fitting dramatic end that puts finishing touches on a well-crafted and artistically satisfying production. Kudos to Beck for all of his hard work in bringing his vision of this classic to the JPAS stage and to all the musicians, actors and creative team who helped him realize that goal.
Directed and choreographed by Ken Beck, Jesus Christ Superstar (1 hour and 55 minutes with a 15-minute intermission) with music by Andrew Lloyd Webber and lyrics by Tim Rice, continues its run at the Jefferson Performing Arts Center, 6400 Airline Drive in Metairie, today at 2:00 p.m. with additional shows at 7:30 p.m on Thursday, March 21 and Saturday, March 23. The final matinee runs Sunday, March 24 at 2:00 p.m.
