A dark but glorious production is now playing at the Denver Center
Whipping through the Denver Center for a five-day stint as part of an extended 50th anniversary tour, Jesus Christ Superstar reminds us how powerfully this show resonated with audiences in the early 1970s. While some celebrated the modern, rock take on the story of Jesus, others decried it for being too sympathetic to Judas — among other predictable gripes. After all, you can’t attempt a retelling of this story without stirring up controversy.
The events of Jesus’ final days are awful, and this production now up at the Buell Theatre takes the tragedy to some very dark places — much more so than in the last production I saw decades ago. Everything about the set is swathed in blacks and grays, with the lights at times struggling to get through the smoky haze that seems omnipresent. From those highly familiar, haunting guitar licks in the overture to the final blackout, the show is a clear testament to the otherworldly creative power of Andrew Lloyd Webber and Tim Rice while still in their 20s.
Jesus Christ Superstar was big in my family when I was a kid, and I’m intimately familiar with the soundtrack. Songs I hadn’t heard in over 30 years came instantly back to me Tuesday night, and there isn’t a weak link in the entire score.
The actors playing Jesus (Jack Hopewell) and Judas (Elvie Ellis) both have extraordinarily powerful high tenors that reach impossible falsettos that cut through even the most energetic numbers. Hopewell looks very much like the image most have of Jesus, with a wispy beard, long dirty-blond hair and a pair of penetrating blue eyes.
Ellis is a Black man with a heavy beard and dreads whose Judas is almost exploding with frustration at what he sees as the runaway train of the movement Jesus leads. While Jesus is often silent and unwavering as the crowds and accusers churn about him, Judas is a spluttering mess every moment he’s onstage. We first meet him as a scold, fussing about how the group spends money to jaded outcast and traitor, and Ellis is impressive throughout. He takes the character on a torturous journey culminating in his futile plea that he not be damned for all time.
In a rare light moment, Jesus and the disciples pause for a quick nod to da Vinci’s ‘Last Supper.’ | Photo: Evan Zimmerman/MurphyMade
The Passion of Christ
Compared to that other early ’70s Jesus musical Godspell — where the teachings of Jesus are front and center — Superstar is focused only on the Passion, those final days. As such, it can’t help but be a bummer, but the forceful rock soundtrack keeps it from becoming maudlin. So, too, does the choreography by Drew McOnie. The design is less focused on individual numbers (although those exist for sure) but on a nonstop wave where the dances are always on the move, in unison and flowing from one end of the two-level set and back. Most are dressed in simple, flowing peasant clothing, and while some of their hand movements were a bit peculiar, it was nothing short of a spectacular ensemble performance.
As the title suggests, there’s a good deal of focus on the star status Jesus attained among his followers. All that he’d worked for over the past three years is undone in a moment, and he witnesses an adoring crowd change instantly into an angry mob once it’s clear he’s a marked man. Talk about cancel culture!
Between the two antagonists is Mary, played with an almost motherly vibe by big-voiced Jaden Dominique. As Jesus is beset on all sides, she’s the calming influence, beautifully singing well-known songs like “Everything’s Alright” and “I Don’t Know How to Love Him.”
Elvie Ellis as Judas lets Jesus have it in ‘Jesus Christ Superstar. | Photo: Evan Zimmerman/MurphyMade
Strong supporting cast
The production benefits from highly memorable performances from supporting characters. There’s the deep, deep baritone and non-nonsense proclamations from Caiaphas (Grant Hodges), the high priest who initially has it in for Jesus. He’s accompanied by three other priests, creating a malevolent foursome that I looked forward to every time they appeared. There are also some memorable scenes with the priests and Judas. It’s they who pay him to betray Jesus, and when he reaches into a chest for his lucre, his hands turn to silver — where they remain for the rest of the show.
As Pilate, Alex Stone is a punk hipster a la Billy Joe Armstrong, shocked at what he has to preside over. And of course, Herod’s big number provides a rare bit of levity with a smirking, flamboyant Alec Diem nailing the role in a truly outrageous costume.
The realistic crucifixion scene isn’t for the faint of heart. | Photo: Evan Zimmerman/MurphyMade
Technically, Superstar is a marvel of sound, light and audio with a crack rock orchestra driving the songs. Unlike most productions that rely on body mics, this one makes liberal use of hand-held mics as well. It’s a smart move that makes for much better articulation of the lyrics atop the wailing guitars and crashing drums.
This is a highly emotional and affecting show, particularly for lovers of Jesus. I was able to watch the action with the detached interest of a non-Christian. Not so my wife, who wept through the torture and crucifixion scenes and vowed after never to see it again. With that in mind and considering the strong emphasis on the violence in those final scenes, I’d think twice about taking kids younger than 12 or so to this one. For the rest of us, Jesus Christ Superstar remains a high-water mark for Lloyd Webber and Rice, a true banger of a musical in a touring Broadway production that’s as good as they get.
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