Talented cast energizes CLO's edgy 'Superstar'
-
Doug Kreeger portrays a rocker Jesus in Pittsburgh CLO's "Jesus Christ Superstar" at the Benedum Center through Aug. 14.
Share with others:
"Jesus Christ Superstar," the first successful collaboration of lyricist Tim Rice and composer Andrew Lloyd Webber, shot onto the theater scene in 1971 with a howling rocker Jesus and some of the same controversies that surrounded "The Passion of the Christ" decades later. The rock opera became the longest-running West End musical at the time of its closing, and it keeps on going, including an acclaimed version at this year's Stratford Shakespeare Festival that's bound for LaJolla and possibly Broadway.
Pittsburgh CLO has entered the fray this year, too, after tackling "Superstar" in 1985 and 1992. The production now at the Benedum Center has a hard-rock edge, an enormously talented cast and an unyielding pace.
Director Charles Repole (last year's "Curtains") and Co. take hold of the Rice-Webber interpretation of the last days of Jesus and charge headlong toward the inevitable in just over two hours.
The first act speeds by, with Stephanie Umoh's Mary Magdalene reminding us why "I Don't Know How to Love Him" jumped off of the original Broadway soundtrack and onto the pop radio charts. It comes to an emotionally charged end with Judas (Josh Tower) committing the ultimate betrayal.
As Jesus, Doug Kreeger embodies the traditionally beatific images of a long-haired handsome man. He also can hit high-pitched screams and tone it down to whiny, feverish laments as Jesus goes from exhausted to impatient to angry and finally resigned to his fate. From "The Temple" to "The Last Supper" to "The Crucifixion," he questions God's plan, and yet he soldiers on, while Mr. Tower's tortured powerhouse Judas can't figure out what's happened to the gentle man -- emphasis on man -- he once knew.
Scenic designer Michael Anania gives the sandaled ensemble a stark, rock-formation set on which to trod, and it serves the cast well. It has a wide central plateau to raise the stature of whomever happens to be on top (or on his way down) at the time. Lighting designer John McClain does a lot of the heavy lifting to set the moods, including a beautifully lit first act moment during "Pilate's Dream." The too-seldom-seen Robert Cuccioli moves toward the audience as he is first confronted with "the Jesus problem" while Mr. Kreeger moves offstage behind him as a ghostly presence.
First Published August 3, 2011 11:07 am
