Jesus Christ Superstar

Reviewed by Holly Bartges

The only thing blasphemous about Littleton Town Hall’s production of Jesus Christ Superstar is the short run. Never mind other scheduled events, this show needs to be extended.

David Zambrano as Pilate, Ed McLennon as Jesus, Brian Walker-Smith as Judas, and Carolyn Perea as Mary.

The quality of the 5-piece rock band and the voices are as good as any on CD, any CD.

This may not be an accurate account of the Passion of Christ. There has never been an accurate account. There will never be an accurate account, nowhere, no time, no place. In one sense, it is as accurate as any other account. Take a year and compare the “skillions” of translations available. Take another year, learn Greek, read the various Greek translations, then come and talk to me about accuracy.

Accuracy in words and events doesn’t matter. If accuracy is important, think about how current news is reported through the different media. It is a musical of passion, written in passion, performed in passion. It is a passionate rock musical. Of course, it is loud. It’s rock, that seeps into every molecule of one’s being, waking them up to wild possibilities, curiosities, and questions of what it means to be alive and why.

It is difficult to ask anything more of a production than that.

Director/Choreographer, Gary Hathaway, has made the most of this small stage, the band in full view, except for the drums. Platforms and aisles on a basically bare stage give depth, space and distance, physically and emotionally. Stuart Barr, Associate Producer, designed the set featuring a platform upper stage center with a shiny silver backdrop that produces intriguing eerie reflections at provocative moments. The reflections dance in the lights, designed by Jennifer Otto Zedalis. Appropriate since most of the musical concerns itself with reflection.

The eye-catching costumes, designed by Alisa Vaughters, speak to a contemporary culture. For the most part, there is nothing worn on stage that isn’t seen in downtown Denver, or Littleton, or Lakewood, or anywhere for that matter, every day of the week. The costumes reflect the sometimes tongue-in-cheek, sometimes mocking, sometimes introspective music.

With lyrics by Tim Rice and music by Andrew Lloyd Webber, this passionate story is told through the confused eyes of Judas, powerfully portrayed by Brian Walker Smith. Of course, Judas is angry. Of course he’s confused. He took the words of Jesus literally. (He certainly isn’t the first, and most certainly won’t be the last). He was promised a Kingdom. He had dreams of being a big shot. He would have power, control and authority. Then he had to watch his dreams slip into oblivion. Listen to his words, and here is a man of passion. Rice and Webber have climbed inside this shadow of a man giving him flesh, blood, heart, depth, and soul. Yes, soul. Go ahead; listen to the music once more very carefully.

Ed MacLennan plays and sings the words of Jesus with magnificent voice control, feeling, emotion, compassion, and rightful anger. During the song, The Temple, Jesus confronts the moneychangers. There are no donkeys, sheep, and goats. There are guns, prostitutes, and drugs. These items contemporary culture can relate to. There is little in common with contemporary culture and sheep, donkeys, and goats. MacLennan’s Jesus show of wrath reflects a large part of contemporary culture with the availability of guns, prostitutes, and drugs.

Carolyn Perea’s gorgeous voice fits perfectly into the role of Mary Magdalene, as does the quality of character she gives her. Although there is no scriptural proof, Mary was a prostitute, Rice and Webber, shot her into the cultural accepted role. She sings the song every Christian has sung sometime in their life, I Don’t Know How To Love Him, whether they want to admit it or not.

David Zambrano gives us a Pilot caught in the middle of a power struggle. Zambrano sees it, gives it, and shares it.

As King Herod, Adam Brodner, reflects the attitude, depth, humor, ridiculous musings as given in King Herod’s Song. No, contemporary verbiage doesn’t spout, “Prove to me that you’re no fool, walk across my swimming pool,” however, equally ridiculous statements are made every day of the year. Think about it. Tongue-in-cheek humor makes this song very funny, and Brodner flaunts his enjoyment of the role, the way it should be.

Rice and Webber admitted long ago they deliberately stopped at the death, because they didn’t feel comfortable with the Resurrection or going into that. The last bars of music tell the story. Most productions don’t want to trust the music, insisting on adding a tag. This production is no different. It adds a tag of an empty cross and a girl and her mother paying homage. Jesus appears. The little girl sees him. The mother in too much of a hurry. It is a tag, reads like a tag, and totally unnecessary.

Performances are selling out. Call early for reservations, and if they’re booked, call again. Jesus Christ Superstar is one of the most thrilling, powerful, exciting musicals Littleton Town Hall has ever done. If awards were being given, and I may consider it, this production would be at the top of the list. Littleton Town Hall does not recommend the production for children under 13.