Review: Jesus Christ Superstar rocks the Jubilee with electric reimagining of iconic musical yycarts
Even if it uses an orchestra, Superstar was always conceived as a sung-through rock opera and the massive metallic set even has a special tower for the guitarists, drummer and keyboardist, highlighting them in the opening overture and then leaving them visible throughout the evening.Sign up to receive daily headline news from the Calgary SUN, a division of Postmedia Network Inc.By clicking on the sign up button you consent to receive the above newsletter from Postmedia Network Inc.
Isaac Ryckeghem and Kodiak Thompson ooze contempt as the scheming Caiaphas and his lieutenant Annas and Erich W. Schleck is full-out flamboyant as Herod in the show’s big show-tune number when he asks Jesus to show him a miracle or two.Article contentMcOnie’s dynamic, frenzied and often sensual choreography helps establish the emotions for each big musical number and provides striking contrast for the more reserved solos.
The theatricality that Sheader uses is particularly dazzling in the case of the 30 pieces of silver that Caiaphas offers Judas to betray Christ. He brings in a large chest and plunges Judas’s hands into it and they come up covered in silver paint which Judas cannot remove. Until his death, Judas keeps trying to wash his hands like Lady Macbeth trying to wash off the blood of King Duncan.
Rice and Lloyd Webber have often been vilified for ending Superstar with Christ’s burial and not including a resurrection scene. Sheader’s answer to that is to have Judas and Jesus meet below the cross as if reconciling. Judas had made it clear just before his death that he was only doing what Jesus needed him to do all along.
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