Easter season comes a little early to Lancaster, PA, and I’m not referring to some mega-spectacular at neighboring Sight & Sound Theatre. This month, the always impressive Fulton Theatre mounts a stunning production of Andrew Lloyd Webber and Tim Rice’s powerful rock opera, Jesus Christ Superstar.
A personal favorite of mine and a staple of my Easter season viewing, I’m a pretty strict purist in that I expect any production to trust the material and present a straight forward recounting of the last life of Jesus of Nazareth’s life, from his arrival in Jerusalem on the first Palm Sunday till his crucifixion a mere 5 days later. And Director Deirdre Goodman delivers just that, a perfect telling of the tragic story that leads with and honors the music with no show gimmicks or alternate interpretations (no modern day “Jesus as social media star”, or other overdone and underwhelming interpretation). Her choices are strong and she and the cast willingly take a back seat to the immortal classic score that not only invented the rock opera but has been the definitive Easter story for a generation of a certain age.
The cast is phenomenal. In the title role of Jesus, Aaron Levigne, who played the role in the 50th Anniversary tour of the show, finds even more levels and intimate moments here at the Fulton. With his rock star good looks and soaring voice that easily envelops the score without all the typical Stephen Tyler-like screaming popularized by original stage and film star Ted Neeley, Levigne is a perfect new age Jesus who walks that fine line between bringing a contemporary sensibility to the stylistics of the role without compromising the character or the music with vain rockstar gimmicks, a common mistake. But that is not suprising, in that Levigne was the best thing in the Anniversary Tour. His “Gesthemene” is a textbook lesson in the art of acting a song.
As rogue apostle Judas, who Lloyd Webber and Rice chose to be the focal point of view of the story, a reluctant and unreliable narrator, David Toole is compelling. Saddled with the hardest music, the most tortured character, and the most physical role of the piece, Toole handles it all exceptionally well. He is an engaging storyteller as the events unfold through his eyes, his questions, and his sensibilities. From the opening strains of “Heaven in My Mind” to the betrayal in the garden to the posthumous production number of the title song, Toole balances the rock star vocals with the social burden of the bigger questions he asks of his friend and leader.
The breakout performance of this production is Kristina Leopold as Mary Magdelene. Graced with the most beautiful music of the show, which is remarkably different from the rest of the score (“Everything’s Alright” is breathtaking use of 5/4 time, and I will make a bold stance that “I Don’t Know How to Love Him” is one of the most beautiful songs ever written), the role calls for a special voice and a smart actress who trusts the gentle rhythms of the songs. The common mistake of most modern actresses who live to belt is to oversing the powerful songs, confusing the melodic build of “I Don’t Know How to Love Him” for modulations to get louder and louder until they end up going full Xtina by the endings, which couldn’t be a worse choice. I can honestly say that I had begun to wonder over the years if original stage and screen star Yvonne Elliman was the only person who could do the music justice, with her simple and honest delivery of the songs, and it moved me that Leopold is the best I’ve seen in all the national tours and taped stage versions featuring pop stars like Irene Cara (in the 25th Aniversary Tour) and Spice Girl Melanie C. (in the 30th Anniversary European Arena Tour), ever since. Her voice possesses both a power and a gentility that wraps itself around the gorgeous pieces flawlessly, and her acting of the songs is superior. If you need one reason to see this show, make it Kristina Leopold’s moving performance of this classic track. It’s the best I’ve seen since the movie in my childhood.
In supporting roles as the various villains of the story, Adam Bashian and Oliver Prose as High Priest Caiaphas and his lapdog assistant Annas are a dynamic team. Bashian is imposing and intimidating with a booming bass voice, complimented by Prose’s falsetto vocals as they plot and scheme the proceedings to eliminate Jesus.
Mamie Parris as Pontius Pilate is the closest this production dances with a gimmick. Yes it’s a male heavy story, but so is the Bible. Adding another female lead isn’t the end of the world, and Pilate is a near cameo character who pretty much lifts out of the story with minimal effect. But if you have to gender swap a role, casting Parris, who is basically Lloyd Webber’s personal stateside go-to (she took over for previous Lloyd Webber muse Sierra Boguess in School of Rock, and when Leona Lewis, already filling in for current Lloyd Webber muse Nicole Scherzinger, left Cats, he replaced her with Parris) is not a bad way to go. Her pedigree is full out Lord Andrew and her voice and stage presence are superb. I can honeslty say by the time Parris got into full swing during the “39 Lashes”, I was over the fact that Pilate was now a strong woman in a Joan Collins power suit.
But the scene stealer of the entire show is a showstopping one scene/one song one-off performance by Robert Anthony Jones as a flamboyant King Herod who, along with a game ensemble of fey party guests and servants, knocks the one novelty number of the show out of the water. A high-partying Charleston amidst a sea of rock and roll, the costumes and set even change for this one campy instance. The only moment of humor of the entire show, fortunately breaking up the extremely dark and devastating second act. Jones and company sell the witty number (where Herod challenges Jesus with such easy tasks to confirm his divinity like “Prove to me that you’re no fool. Walk across my swimming pool.”) with a Great Gatsby-an, end-of-the-world party energy and that provides one much needed moment of levity before the inevitable tragedy to follow.
Set and Lighting Designer Paul Black does an excellent job of creating a similated Biblical era desert setting that works throughout and anchors the story in its true setting, not the streets of New York or a seedy Hollywood nightclub as other less successful revivals have tried. His sand pillars and cliffs are accentuated by dramatic collumns of light and color throughout. He uses this versatile unit set for every Jerusalem setting, save for that one extreme change to Herod’s Palace of excess with jewel toned fringe-lined drapes to make him the life of the party. It’s the most successful concept I’ve seen on stage for the show ever.
Jamibeth Margolis’ Costume Designs are a nice blend of 70s urban hippie chic on Jesus and the Apostles to salute the origins of the musical, with more elaborate “statement” costumes for the High Priests (imposing black flowing capes and towering headpieces), Pilate (a white power suit with a white leather bustier), and Herod (glitzy black and jewel toned party attire), selecting a high concept to accent for each. The combined effect is a perfect balance of the 70s rock origins of a timeless tale.
Tyler Hanes’ Choreography is distinct and clever, and transitions nicely from setting to setting. Ben McNamoe’s music direction is a perfect balance of musical theatre and rock concert, lightly shifting back and forth as the songs dictate, and Josh Allamon’s Sound Design delicately balances his efforts with the vocalists for maximum effects.
But again great credit goes to Deirdre Goodwin’s smart, wise, honest direction. Her desire to preserve the creator’s original concept and not make any grand attempt to fork their work into another era to make it her own or superimpose some sort of social commentary is commendable. If only other directors would learn to respect and trust the material that people love so well, more musical theatre would be as successful as most anything presented by the Fulton.
If you’re looking for something unique to usher in the Lenten season and look forward to other typical Easter festivities, head to the Fulton Theatre ìn nearby Lancaster and check out What’s the Buzz on one of the most prestigious regional theaters within driving distance from the Baltimore metro area. You don’t want to miss this global phenomenon as it was meant to be seen in all its passion and glory.
Running time 2 hours with one intermission
Jesus Christ Superstar runs through March 9 at the Fulton Theatre, 12 N. Prince Street, Lancaster, PA. For tickets call 717.397.7425 or purchase online