Theater Review: ‘Jesus Christ Superstar’ by TheatreWorks New Milford

TheatreWorks New Milford is presenting the rock opera “Jesus Christ Superstar,” with music written by Andrew Lloyd Webber for the lyrics written by Tim Rice. The New Milford production is the vision of Francis A. Daley. Performances continue through Dec. 28.

I was able to attend the Thursday performance, a pay what you want show, with a large group of patrons who were able to fit in the school night performance.

TheatreWorks President Gale Alexander reminds us in the printed program that “JCS” is based on the Gospel account of the Passion. It “looks at events primarily through the paradigm of Judas Iscariot, who isn’t quite sure that Jesus is leading his followers in the correct direction.” She adds, “Somewhat controversial when first produced, originally released as an album, it has become a classic in musical theater.”

I read with interest Daley’s very personal description of the birth and impact of JCS in his director’s notes, as well as his production note that he uses his cast of 18 to portray multitudes. “To help distinguish apostles from mob and crowds we are employing simple costume changes.”

The director decided to set the rock opera in Biblical times, with traditional garb and a set (with magnificent production design by Leif Smith) that makes the most of the tight space. Even as a JCS snob, I will admit that this is a valid choice. While there are some stunning choices, especially the backlit depiction of the scenes during “The Crucifiction,” other choices were less effective for me.

Judas’ pivotal opening number “Heaven on Their Minds” features a projection of scenes from Jesus’ early life enacted by cast members. I definitely appreciate the attempt to incorporate biblical history into the story, but I found that the snippets detracted from Judas’ admirable performance.

Daley warned that he had made some modifications for the limited space and cast members. So the ensemble members covered themselves in brown fabric to suggest lepers and the mob. The problem for me was that they remained onstage, curled up on the ground for far too long, until they were “awakened” by two sinister characters.

Musical Director Susan Lang worked hard with the cast to bring this challenging music to life, but there were some issues for me. Some of the singers were not on key or on beat, not really in sync with the musical tracks. Rather than retaining the uninterrupted flow of the musical numbers in the opera, there were full stops between almost all of the songs, during which the audience felt encouraged to applaud at what I felt were inappropriate times. It interrupted the flow of the composer’s intention for me. There were also some musical omissions, including the “ahs” at the end of the overture and the entire “Could We Start Again Please?,” although a recorded version was played as the audience exited the theater (and therefore missed it.)

However, I can’t deny the final scenes were extremely effective, marvelous lighting and sound cues that strengthened the Crucifixion with a lightning storm.

There was some spirited (albeit partial) choreography by Sandra Hernandez for “Simon Zealotes,” as well as in “What’s the Buzz?,” and the lepers in “The Temple.” Two dancers clad completely in black added a sinister quality to scenes with Judas. The projection of the face of Jesus as seen on the Shroud of Turin was very effective.