Ordway’s ‘Jesus Christ Superstar’ speaks to our times

It’s a very Christian-centric time of year, with holiday tunes playing and Christmas lights twinkling everywhere you go. Added to the mix this year, the Ordway presents Andrew Lloyd Webber’s “Jesus Christ Superstar,” which, while not a Christmas story since it skips over Jesus’ birth, adds yet another dose of Christianity this holiday season.

Sort of. One might say the rock opera is more Christian-adjacent than anything. It takes the story of Jesus’s last days and finds a narrative that transcends religiosity. Jesus becomes a reluctant leader whose insistence on love and peace runs counter to the political power others want him to seize — and ultimately leads to his self-sacrifice.

By focusing on the effect Jesus had on people, and how his shine had the power to inspire and also irritate, Webber and lyricist Tim Rice have created something more universal than a devotional pageant.

Related: Colorful, immersive ‘Luminiscence’ makes its North American debut at Minneapolis’ Basilica of St. Mary

The sparkly production delivers interpretive dancing, stunning visual effects and glitter.

Released as a concept album in 1970, the rock opera first opened on Broadway in 1971 amid a flurry of spirituality-themed musicals, including “Godspell,” produced off-Broadway in 1971 with a book and music by Stephen Schwartz. Webber and Rice’s “Joseph and the Amazing Technicolor Dreamcoat,” which they wrote before “Superstar,” didn’t get produced until 1973 after the team realized they could ride the wave of their earlier success.

The Ordway’s presentation takes the 2017 revival directed by Timothy Sheader and choreographed by Drew McOnie and uses it to showcase its brand-new sound and lighting system, part of its recent improvements.

The music sounded clear and full, bolstered by the Ordway’s $3.9 million in upgrades, but at times the lyrics were difficult to make out, with the vocals drowned out by the swelling sound of the live band. I longed for supertitles, which are common in classical opera productions presented at the Ordway.

Starring a lithe Jack Hopewell as a delicate and ethereal Jesus, the story’s tension centers around its antagonist, Judas, played by Elvie Ellis. In this version, Judas betrays his guru not for silver but because he loses faith in Jesus’ ability to lead their movement.

We don’t see Judas’ journey before he meets Jesus. Instead, from the very first moment, he’s frustrated that his teacher is getting a bit too much attention. “You’ve begun to matter more/Than the things you say,” he complains in song. He’s also none too keen on Jesus spending time with Mary, an ill-reputed woman whom Jesus allows to stroke and kiss his hair. Judas objects to Mary not because of her “profession,” but because their enemies will use her presence against their cause. “They only need a small excuse/To put us all away,” he sings.

The play’s focus on Judas’ objections to Jesus’ tactics, rather than simply greed, makes his downfall all the more intriguing — and heartbreaking. Presented with a large box after he gives up Jesus’ hiding spot at the Garden of Gethsemane, Judas doesn’t even seem interested in the riches the box contains.  

Ellis gives a commendable performance, along with Faith Jones as Mary, the prostitute with a crush on Jesus. Jones’ performance of the hit song “I Don’t Know How to Love Him” brings chills not only for its technical showcase of vocal fireworks, but for Jones’ vulnerable emotion.

Tom Scutt’s costume design de-emphasizes Mary’s employment as a sex worker — she and the other followers of Jesus wear humble earth tones and not a lot of skin. More showy are the Roman characters Pilate and Herod, the latter of whom wears an audacious glimmering gold outfit. As Herod, Erich W. Schleck gives a wonderfully nasal performance, and Ethan Hardy Benson as Pilate proves quite a talent as well.

The sets, based on Scutt’s 2017 design, make a dynamic statement. The live band members are housed in rectangular platforms on the side of the stage, which reminded me of a television split screen à la “The Brady Bunch.” Crosses adorn the top of the set, and additional crosses are used as props in sensual dance sequences. One of my favorite visual moments took place during the Last Supper scene. The cross-shaped dinner table is skewed at an angle, emphasizing the building tension in the air.

Related: Despite misses, ‘Purple Rain’ has enough hits to honor Prince’s remarkable legacy

Drew McOnie’s choreography adds to the story with its visceral physicality. Watching the show, I was reminded of Hennepin Arts’ recent production of “Purple Rain,” in which dancers play out thematic and emotional themes. Here too, dance forms an important touchpoint for the different groups navigating what to do about Jesus’ subversive teachings.

At times, the production offers over-the-top flourishes, which I actually found delightful. For example, clouds of glitter waft into the air when Jesus gets whipped. This is a piece that relishes in its dramatic gestures and asks the audience to accept its flamboyance. 

Is “Jesus Christ Superstar” the performance we need right now, especially during the holidays when we’re oversaturated with Christian stories and in this political moment? 

I’m not sure, but the message does have a resonance that speaks to our current times: love one another, show kindness to poor people and people who suffer, challenge power and reject greed. Those teachings feel as timely as ever. 

Jesus Christ Superstar runs through Dec. 29 at the Ordway Center for the Performing Arts, 345 Washington St., St. Paul ($47-$166). More information here. 

The post Ordway’s ‘Jesus Christ Superstar’ speaks to our times appeared first on MinnPost.