Review: JESUS CHRIST SUPERSTAR at Asolo Repertory Theatre

To wrap up another great season Asolo brings us “Jesus Christ Superstar”. Originally Brought to Broadway in 1971 and running through mid-1973, after 711 performances, it closed to mixed review.But by 1980 the musical was one of the highest grossing musicals worldwide. It also holds the record for the longest-running West End musical, running over a total of 8 years with 3358 performances.

Taking one of the most widely referenced stories in history, that of Jesus Christ himself, and turning it on his head in what would become one of the most well-known musicals of all time was a high-stakes risk to take, but Andrew Lloyd Webber, along with Joseph collaborator Tim Rice, did exactly that. It may seem obvious to most where the idea came from but, like all good stories, there’s more to the origins of Jesus Christ Superstar than meets the eye. The entire story started as a concept double-album (that was nominated for a Grammy, but lost to Carole King’s “Tapestry”), as the idea of a rock opera was something that no producers wanted to take on. From there the cultural phenomenon of the show led to hit songs, a Gold Status album, the cover of Time Magazine, headlines across the world due to the controversial themes, and many many film adaptations.

The audience waited with eager anticipation for the moment when the curtain would rise at the Asolo on Saturday night. The stage was adorned with towering pillars resembling concrete, creating a monumental and imposing backdrop. Adam Koch and the design team deserve praise(no pun intended) for their remarkable work in crafting a dynamic set that seamlessly transitioned between different locations, evoking a sense of grandeur and fluidity. The costumes struck a balance between futuristic elements reminiscent of the Matrix and ancient aesthetics, adding a unique dimension to the performance.

Heath Saunders delivers an entrancing performance, embodying the character of Judas with intense emotion and raw talent. From the moment he begins singing "Heaven on their Minds," his powerful presence ignites the stage, drawing viewers into the world of the story. With every note and every gesture, Saunders skillfully conveys Judas's inner turmoil and complex emotions, allowing the spectators to empathize with his struggles and conflicts. Through his nuanced portrayal, viewers are able to truly grasp the weight of Judas's choices and the profound sorrow of his ultimate betrayal.

In a performance where Saunders portrays angst akin to an 80's hair band, Sarah Kay's mellifluous voice embodies Mary Magdalene, and Jesse Nager's peaceful voice embodies Jesus of Nazareth. The stark contrast between Saunders' emotional intensity and the calming tones of Kay and Nager could be a deliberate portrayal of the characters they embody, or simply a striking genius of juxtaposition.

The retelling of the highlights(lowlights?) of last week of Jesus' life, from Palm Sunday to the Last Supper and beyond, offers a unique and fresh perspective on familiar events. In this portrayal, the audience witnesses these moments in a way that feels entirely new. King Herod's golden display stands out as an extraordinary occurrence. The depiction of Palm Sunday immerses the audience in the celebratory atmosphere, making us feel like active participants in the jubilation of the moment. The final scene, filled with majesty, quietude, and solace, has a profound impact and is still bringing tears to my eyes just thinking about it. The contrast between the tranquility of this scene and the rest of the performance is truly breathtaking.

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