By Katherine Beeson
Years ago, young song wriJesusters Andrew Lloyd Webber and Tim Rice presented a simple concert version of a few songs they believed would be appropriate in the telling of the Passion of Jesus Christ, from Palm Sunday to His crucifixion. This evolved into the contemporary rock opera “Jesus Christ Superstar” and Sunset Playhouse opened its production this weekend.
Most Christians know this story quite well, but Webber and Rice bring a contemporary flavor to it without losing any of its punch or reverence. Sunset’s production, directed by Tommy Lueck, is a powerful presentation that is simply fantastic from beginning to end.
Jesus is portrayed as a man with ethereal qualities and Joshua Pope is wonderful as he almost glides through the week before his death. Pope presents Jesus as a man with patience and courage, yet his raw rendering of “Gethsemane” shows an underlining fear as Jesus, the man, faces the mortality that Jesus, as God, had not fully contemplated.
Bob Fuchs as King Herod in Sunset Playhouse’s “Jesus Christ Superstar.”
Pope challenges God to explain why this must happen. “You’re far too keen on where and how, not so hot on why.” This has always been my favorite song and Pope did it justice.
This story is told from Judas Iscariot’s point of view and Jesse Weinberg brings his strong passion and growing despair to the part. Judas realizes that Jesus must be killed (to fulfill His prophesy of dying for our sins) but laments that he, Judas, is the onechosen to betray him. Weinber g delivers in every scene and deserves sharing thecurtai n call with Pope.
Natalie E. Wikstrom, as Mary Magdalene, has a stirring voice and portrays the redeemed sinner with style and grace.
Joshua Pope as Jesus in the Last Supper scene of Sunset Playhouse’s “Jesus Christ Superstar.”
A number of supporting characters are standouts. Calaphas (Tom Flanagan) and Annas (Coltyn VonDeylen) are the political operatives who strive to get Jesus convicted. Both men have great stage presence. Bob Fuchs (King Herod) deftly injects a bit of vaudeville and levity into “King Herod’s Song.”
Nicholas Callan Haubner as Pontius Pilate, almost steals the show. He appears in full, caped military regalia and brings a balance of complete power yet honest justice as he asks Jesus questions in hopes to spare the man’s life. When the crowd demands crucifixion and Pilate hands him over to be flogged, Haubner’s powerful steps, in perfect rhythm with each movement of the cracking whip, adds an emotional foreboding.
The ensemble numbers are strong and tell the story nicely. Musical director Mark Mrozek has assembled a wonderful orchestra.
This show is great from set and costume design to choreography and lighting (the electricity as the whipping is delivered adds so much.)
I was very happy to be able to experience such a beautiful show. However, I have to tell you that the production is completely sold-out. Contact the Sunset box office to be put on a waiting list. The show runs through May 5.