Jesus Christ Superstar

Jesus Christ Superstar
by Gale Edwards, Nick Morris

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Movie Reviews of Jesus Christ Superstar

Movie Review: Superb Superstar
Summary: 5 Stars

Musically Andrew Lloyd Webber is at his finest. There are a few unfortunately trivial moments ("Gethsemane (I Only Want To Say)" has some awfully uninspired and repetitious music, although dramatically it is one of the climaxes of the opera) but most of the music is sophisticated and engaging. Usually thought of as a "rock opera"--and certainly the majority of the music is rock--Jesus Christ Superstar incorporates a wide stylistic palette, drawing on sources as diverse as Romantic symphonic music ca. 1890, Music Hall tunes of the 40's, and even a touch of the atonal and avant-garde. (The crucifixion scene contains "sound mass" music reminiscent of Ligeti's works such as his Requiem, probably most well known to audiences as the "monolith music" from the movie 2001.) This plethora of stylistic influences is matched by a subtle compositional technique--I am very impressed by the ease with which Webber writes in somewhat unusual meters like 5/4 and 7/4. Clearly here is a man who studied his Brubeck, and the result (for example Pilate and Christ) is as natural and flowing as the rest of the music. [Webber has made both this stylistic eclecticism and metric flexibility his hallmark, most successfully in Evita.]

This production picks up Webber's eclecticism and brings it to the fore. Rather than attempt historical accuracy (as if such a thing were possible in a rock opera based in biblical Jerusalem sung in English) a postmodernist approach is taken, with familiar symbols both real and fantasy thrown together in an asynchronous stew. The costumes of the authorities, both Roman and Jewish, are fantasy, but there are clear references to fascist and particular Nazi paraphernalia, especially in Pontius Pilate's attire. Simon Zealotes is a Rambo-esque character and comes complete with machine guns and bandoleers. The apostles and disciples look rather like Jessie Jackson hoped his Rainbow Coalition would turn out. King Herod is a nightclub entertainer, and there are angels in PVC, reporters in fedoras, background singers in evening gowns, etc. (When will we get the action figures, I wonder?) And against this anachronistic explosion, Jesus remains garbed in a seemingly historically accurate linen robe. That the whole is not just the Village People's stylist's psychotic episode is evident in the fact that it WORKS. Removing any historical context, while it may upset some more conservative Christians, brings Jesus' story to life--makes it universal and conversely gives it personal meaning in a way that a more literal representation would not. Likewise, conservative Christians may criticize the adaptations to the Gospels that Tim Rice has made (which other critics here have already enumerated), but they are very effective. That Jesus' doubts and fears almost overwhelm him in the garden of Gethsemane makes him human, and thus one of us. Dramatizing what is recorded in the Gospels to enhance this seems completely appropriate, and making Pontius Pilate torture himself as well as Jesus has similar results. Without doubt, without fear, Jesus would become like Superman, impervious to mortal harm; and thus his sacrifice would become meaningless. That Pilate and Judas struggle with their own decisions, and are unable to comprehend Jesus' message is vital to recognizing them as ourselves, and certainly much of the drama of the story would be lost without this gloss. Pilate's decision is every bit as climactic as Jesus' acceptance of his fate at Gethsemane, if not more so; and it is, in fact, the decision we make all too often. Most of us won't be nailed to crosses, but we will be forced to make decisions that we know are morally wrong but which are popular nonetheless.

In addition to the music and dramatization, the performances are well worthy of note. In particular Glenn Carter as Jesus, Jerome Pradon as Judas, and Michael Shaeffer as Annas are a trio of amazing tenors. They are not operatic, like Pavarotti, Domingo, and Carreras; but they have stunning voices and I hope to hear more. Frederick B. Owens's Caiaphas is a profound and gorgeous bass, and Fred Johanson as Pontius Pilate came very close to stealing the show. My only criticism of the performances was the over-frequent use of speaking or shouting a word or phrase for emphasis in something that was otherwise entirely sung. Occasionally this can be effective (as in the original LP recording), but when Herod and Pilate do it repeatedly it loses its effect and destroys the melodic sense of the song. Likewise, I was very disappointed that Christ shouts his last word, "Into Your hands I commend my SPIRIT!"--it absolutely destroyed the dramatic sense of the moment and seemed wildly inappropriate, although I do understand the impulse.

Nonetheless, these criticisms are minor indeed, and this DVD of Jesus Christ Superstar is well worth the price. Most highly recommended.

Summary of Jesus Christ Superstar