'Superstar' rises again in rockin' Barn version

THE GRAND RAPIDS PRESS
Wednesday, August 13, 2003
BY SUE MERRELL

For a 2,000-year-old story set to 30-year-old music, "Jesus Christ Superstar" still has a fresh, timeless appeal.

The production that opened Tuesday at The Barn Theatre in Augusta seems quite comfortable straddling the centuries. Its stark, multilevel set is punctuated with crossbars that seem part ship mast and part cross. The costumes range from the simple robes and head coverings of Biblical Jerusalem to hippie togs and bikinis.

Andrew Lloyd Webber's haunting, snappy and sometimes touching music is played by a powerful four-piece band hidden under the stage. Sometimes it is loud enough to drown out the singers, which is a shame because Tim Rice's lyrics are too good to miss a word.

The 1971 rock opera tells the story of Jesus from Judas' point of view, and director Brendan Ragotzy focuses on the tension between the two from the very first minute, when Jesus enters on the stage and Judas walks down the aisle.

Gary Cherone, former rock frontman for Van Halen, creates a despondent Messiah.

We see little of Christ's charisma and compassion in his last few days but, rather, his standoff with Judas, his disappointment with his disciples and his weariness and frustration. Cherone's anger is particularly fiery when Jesus clears the money changers out of the temple.

Ragotzy has staged a particularly strong scene as Jesus is pursued and trapped by the sick seeking to be healed. All this frustration builds to the dramatic "Gethsemane," which Cherone delivers with plenty of passion. Unfortunately we were unable to hear that all important last line "before I change my mind."

Eric Parker stands out as the tortured Judas, delivering all the power needed for his difficult, confronting solos. It does seem odd that the opening song, "Heaven on Their Minds" is sung to a blank stage even though Judas is addressing Jesus. But his scene with the priests is masterfully staged, with the lighting and the priest's dark robes creating an ominous mood. This effect is completed with the high voice of Trevor Southworth as Annas contrasting with the low rumble of Colin Wood as Caiaphas.

As could be expected, Scott Burkell creates comic relief as a modern-day King Herod, sunning himself and dancing across the stage with his bikini-clad harem.

Ragotzy makes a rare onstage appearance as Pontius Pilate and does such good job we wonder why we don't get to see him more often.

Leslie Diamond creates a warm and seductive Mary Magdalene but could use a little more power on the show's most touching song, "I Don't Know How to Love Him."

A couple of good ensemble numbers, with some spirited dancing, helps to add a little energy in a show that drags a bit between numbers.

The death scenes -- both Judas' hanging and Christ's crucifixion -- are almost too realistic, leaving Tuesday night's packed house of about 500 a little stunned and slow to rise at the end of the two-and-a-half-hour show.

"Jesus Christ Superstar" has outlived the controversies of its early years on the strength of its very human characters and catchy tunes. Judging by Tuesday's show, it could be around for another 30 years.

Barn Theatre offers outstanding 'Superstar'

KALAMAZOO GAZETTE
Wednesday, August 13, 2003
BY ELIZABETH CLARK

Casting directors have long liked rock stars for the role in "Jesus Christ Superstar." Maybe Mary Magdelene was the first groupie.

The powers-that-be at Augusta's Barn Theatre savvily cast ex-Extreme singer Gary Cherone as Jesus in its summer stock production of the musical, which opened with a sold-out show Tuesday night and runs through Aug. 24.

Cherone, no newcomer to the role (he played Jesus in the Boston Rock Opera productions in '94, '96 and '00), deserves more than words as praise for his smooth delivery which made Skid Row veteran Sebastian Bach's mockery in the touring production look like youth gone wildly off key.

Critics loved Bach in the role, too, despite his forced falsettos and hair rocker shrieks.

Yet, someone must have not known how to love him since he was canned for unspecified reasons earlier this year, shortly after touring "Superstar" played Miller Auditorium.

Where Bach whizzed through overdone emotions like a kid with attention deficit disorder who's run out of Ritalin, Cherone at every turn conveyed the range with a smooth subtlety. The rocker, who alludes to biblical matters in his new dark rock/industrial band Tribe of Judah, was a bit of the divine in the songs "Gethsemane," "The Temple" and the outstanding ensemble number "The Last Supper."

While Cherone reined in the Jesus role as compared to the all over the map touring production, Eric Parker added a depth to Judas Iscariot's portrayal not glimpsed in legendary Carl Anderson's showing at Miller. Parker, a pinch hitter for the traitorous apostle in a series of casting switches that resulted in director Brendan Ragotzy portraying Pontius Pilate, shone especially in the poignant "Judas' Death" and the juicy Judas/Annas/Caiaphas collaboration "Damned for All Time/Blood Money."

The bad guys get all the good lines in "Superstar," and there's no richer role than the hedonistic Herod. Scott Burkell hammed it up as the kitschy king; basking among bikini babes fanning him with a Technicolor fan of feathers in the show-stealing role.

As Caiaphas' lackey Annas, Trevor Southworth outshone Colin Wood's Caiaphas. Their band of power hunger priests were wonderfully wretched in all the scenes, although the orchestra pit overwhelmed the vocals of one of the priests in "This Jesus Must Die."

Ragotzy, though, stood out as best bad guy in his powerful turn as Pilate, particularly in "Pilate and Christ" and "Trial By Pilate."

Eric Peterson's delivery of the throw-away role of Simon was flawless in the solo "Simon Zealotes/Poor Jerusalem" and beauty Leslie Diamond's Mary Magdalene could prove any man's temptation with her peppy promise: "Everything's Alright."

What's flabbergasting is that the show comes together so deftly after only a couple weeks of rehearsals, despite the huge cast and related blocking challenges on the sliver of a stage.

It's almost as if there isn't enough time to fail in the Barn's tight schedule and the whole "J.C." cast and chorus walk away looking like superstars.

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