I ONLY WANT TO SAY: THE RESURRECTION OF "JESUS CHRIST SUPERSTAR"

"JESUS CHRIST SUPERSTAR-LIVE"
Music and Lyrics by Tim Rice and Andrew Lloyd Webber
Directed by David Leveaux and Alex Rudzinski
Aired LIVE on NBC Easter Sunday-April 1, 2018

For so much of my life, I have adored Andrew Lloyd Webber and Tim Rice's classic rock opera "Jesus Christ Superstar," which originally entered my consciousness sometime during childhood on Easter weekend broadcasts of the CBS late, LATE show via the 1973 film adaptation from Director Norman Jewison and starring Ted Neeley as Jesus Christ and the late Carl Anderson as Judas Iscariot and was strengthened even further via an Uncle who gave me his copy of the original double album (released September 1970).

For over 40 years, the musical journey into the final week of Christ's life as mostly viewed through the eyes of the doomed Judas, has enraptured and enlightened me just as much as it has entertained and enthralled me. Seeing that NBC was planning to re-stage the production for their annual live television musical event certainly made me curious and to see none other than John Legend in the titular role more than piqued my interest. To have the chance to see and hear completely different people take on a production in which certain specific and idiosyncratic voices have been etched firmly into my inner musical jukebox was definitely something I felt to desire to check out, at least for a little bit. If it just didn't work for me, no harm, no foul. Nothing could taint what I already cherish, so I had nothing to lose. But still...my fingers were...ahem...crossed.

Thankfully, and frankly within witnessing the fullness of the musical's Overture, this new production of "Jesus Christ Superstar" was a triumph. Delivered with a visual sheen that blissfully blended the theatrical with the cinematic, Webber and Rice's classic rock opera felt timeless as well as vividly fresh and potent in our especially turbulent 21st century via the visuals of the multi-cultural casting to the opera's core themes of political subjugation and grass roots uprisings, mob mentalities and the consequences of self-preservation in addition to spiritual turbulence, faith, fame and fraudulence, religion and reason, the possession and abuse of power, prophecy and proselytizing, love, humanity, mortality, sacrifice, salvation and ascension.

Staged like a rock concert, complete with mosh pit where audience members could interact directly with the cast and musicians often entering into and out of the main action, gave the entire production an infectious energy that was palpable through the television screen and only added to the overall excitement, seemingly feeding and pushing the entire cast (especially the gloriously vibrant collective of chorus and musicians) to perfection.

Housed with an open aired set design, often appearing as an updated version of the film's version's towering metallic scaffolding, the show's Directors David Leveaux and Alex Rudzinski made a series of highly captivating choices which only increased the power of the musical's songs and themes. With the name "JESUS" spray-painted graffiti style upon one wall, singers and dancers all dressed in rock star leather and copious a mounts of glitter, the elements of rock and roll extravaganza were certainly all in ravishing place and purpose.

Yet, for the story of Christ, his disciples and his enemies and the spiritual passion play a work, all of which were cemented by the presence of a giant wooden cross in the middle of the floor, I was struck with how malleable a presentation the show actually was, growing delicately intimate for some sequences yet vast, profound and epic during others, most especially the show's final stunning, shattering final image of Legend as Christ now having been crucified and fading into death. being lifted upwards and backwards into a wall of light as the stage's backdrop splits apart vertically and horizontally, revealing another cross into which Christ vanishes. Presented with the strains of the  opera's last selection, the string section led "John Nineteen: Forty-One," it was a grace note fully earned and left me with feelings of combined awe, sorrow and a certain meditative air that is as ethereal and inexplicable as one could imagine for a story such as this one.

For those who may have been experiencing this musical for the very first time, I sincerely hope they were not simply moved by the proceedings but just swept away by the audacity of it all. The nature of a story being told solely through songs and with no spoken dialogue whatsoever is a challenge in an of itself. But to tell the story of Jesus' last days and from the aspect of Jesus as a man and decidedly not as a God, remains controversial, but for me, is crucial for the story to carry any significant weight at all. Essentially, this is an exceedingly difficult story with exceedingly difficult parts to play and sing and truthfully, as much as I enjoyed the show, there were some...well, I won't say "faults," but more like aspects from the two primary leading figures, which, in all credit to them, showcased just how difficult and demanding "Jesus Christ Superstar" actually is.

It was certainly a reminder to me.

As Judas, Brandon Victor Dixon has to make the first significant vocal performance of the rock opera and it is a ferociously formidable one. "Heaven On Their Minds" presents Judas as one of the show's antagonists, the skeptic yet self-professed "right hand man" to Jesus who fears that the proselytizing of Christ combined with his rising fame and possibly self-aggrandizing propaganda will undo the progress made in the uprising against the Romans who have occupied Jerusalem. It is a song of searing doubt fused with a difficult love and admiration tinged with fury and recrimination and truthfully, Dixon did not quite match the titanic level the late Carl Anderson achieved in the film version, a performance during which he sang every song as if they would be the last songs he would ever sing.

To his immense credit, Dixon worked himself into fits and sweats with his performance. You could easily see the veins in his throat and temples on his cleanly shaven head flexing throughout every song he performed. He held a forceful, dominating presence certainly but you could also feel him finding his way to a degree, only building full comfort along the way, especially as the character endures his betrayal of Jesus ("Damned For All Time"/"Blood Money" and "The Last Supper") and he supremely came into focus with his anguish and suicide in his expertly staged and performed "Judas' Death."  Dixon certainly saved the absolute best for last with his spectacular, glitterific and hallucinatory excursion into "Superstar," during which he fully unleashed his inner Lenny Kravitz to brilliant effect.

And while Judas certainly wrestled with the demands of the musical, I think even Jesus had an even greater struggle.

As an actor, how would one even begin to conceptualize performing as Jesus Christ? I can only imagine how daunting of a task it would be to say the very least. In the case of John Legend, the reason I was most curious to watch this production, I truly wondered what was going through his head as he prepared for the role. John Legend, while he has acted, is not an actor, and to a degree that lack of experience presented itself in "Jesus Christ Superstar" as his earlier conflicts with Judas showcased how unnatural of a fit this was for him. Even the songs themselves were ones where you could hear how difficult they were, regardless of how splendid of a vocalist Legend already happens to be (and he truly is a tremendous singer).  .

Like Brandon Victor Dixon, Legend worked himself into a sweaty, deeply concentrated frenzy in the role and I give him an A+ for his efforts and perhaps a B for his full execution. That said, credit must be given to John Legend for taking such a massive risk, performing songs that are not of his specific musical genre and songs that were often out of his natural singing range--again, you could see him practically willing himself to hit some of the notes, taking extra, deeper breaths before releasing his voice. And then to act on top of the singing? No small feat whatsoever.

Legend also struck me as finding his way throughout the show, feeling more confident in the m moments where he displayed the charm and graciousness of Jesus, from  his gorgeous entrance as he emerged from a sea of light and interacting with the live studio audience at the lip of the stage and the quieter moments in songs like "Hosana" and especially in the palpable warmth and intimacy of his scenes with Sara Bareilles as Mary Magdalene (more on her very shortly).

Yet, by the time Legend arrived at his centerpiece, the wrenching, existential howl that is the solo "Gethsemane," he seemed to completely arrive as both singer and actor, delivering an exhaustively committed performance of a selection that drives to the core of the human condition. No, it didn't unseat what Ted Neeley achieved in the film version--a performance that truly suggested that these would be his final words on Earth...that is a Master Class performance. Even so, John Legend dug DEEPLY unearthing new levels of grace, pathos and searing power once the show dove into its final sections featuring "The Trial Before Pilate (The 39 Lashes)" and "The Crucifixion." 

Whatever difficulties notwithstanding, it is notable to see these two titans (as Dixon has performed in no less than "Hamilton" and Legend is...well, John Legend) honestly working diligently to deliver the goods, to being so devoted and committed to parts they will most likely perform only this one time. What was most beautiful to witness regarding both Dixon and Legend was the sight of these two beautiful, Black men at the centerpiece of this classic rock opera and frankly, John Legend marked the very first time that I have ever seen a Black man portray Jesus Christ in my lifetime, making the image and representation undeniably seismic to behold.

Faring much more effortlessly was Sara Bareilles, an artist that I honestly had not heard of before this production, despite her pedigree with hit singles and her work on the stage version of "Waitress." The impact she made upon me was instantaneous!!!! Yes, full confession, an instant, powerful crush emerged but as a performer, singer, actress, I felt that Bareilles took what is essentially an underwritten role and infused an enveloping warmth and serenity each time she appeared, and especially as the story grew more turbulent.

Sara Bareilles proved herself to be a more than worthy successor to the character's original actress/singer Yvonne Elliman as the rich, clarity of her voice provided a certain oasis as well as a powerful lesson for all of the up and coming vocalists, especially those who compete on those singing performance shows. Less IS more!! You don't have to invent syllables to create emotion. Find the truth in the words and that will carry the way and Bareilles achieved that feat enormously on "Everything's Alright" and her show stopper, "I Don't Know How To Love Him." 

As an actress, just watch (or remember) how she engaged herself with John Legend. How she would touch him. How they would regard each other. Their connection and chemistry was perfection, suggesting a certain spiritual, emotional and possibly physical intimacy and history that I had never quite felt before in this story. Sara Bareilles, without question, made the absolute most of her time, proving that there are no small parts if you just find the right person to perform them. 

That sentiment only extends itself to the show's supporting players from the baritone voiced Norm Lewis as Caiaphas, Jin Ha as Annas, Ben Daniels (who resembled Michael Fassbender to me) as the conflicted Pontius Pilate, and who sang himself completely hoarse by the show's end. And of course, there is no way to exclude the towering and appropriately theatrical demonic presence of the mighty Alice Cooper as King Herod, who was clearly relishing his part in "King Herod's Song" as well as the excitement and adoration of his fans in the audience.

If I had only one real complaint with the telecast it was all down to the commercials. Yes, NBC has to pay the bills but I do agree greatly with one review I read that suggested that perhaps there should have been an "intermission" of sorts. An extended period of advertisements smack in the middle, therefore the momentum of the show itself would not have been interrupted so frequently and also being emotionally jarring--for  how do you logically adjust and re-adjust from crucifixion to smartphone ads?

Regardless, and most of all, the endurance of "Jesus Christ Superstar" was not only extended even further its longevity was entirely justified through the earnestness and sheer commitment to this production by all participants involved. Imaginatively staged and directed, it also proved itself to be tailor made for the live television format as this was an honest event experience that are indeed harder to come by with the immense prevalence of channels and viewing outlets.

In fact, I wonder if this show will be preserved on the home video format down the road because it was indeed one that I would wish to add to my collection and have the opportunity to experience all over again, for it was so stirring, so surprisingly moving as it was filled end to end with that rock and roll power merged with spiritual deliverance.