"Jesus Christ Superstar" on tour at the Ordway Center

It's the most wonderful time of the year, and #TCTheater is overflowing with Christmas shows, many of which are selling out. But in a bit of alternative programming, the Ordway Center is hosting a touring production of Jesus Christ Superstar, which is about the ending of Jesus' life rather than the beginning of it. It's a much more somber and less hopeful story, but it has a similar message of Jesus' true teachings - feeding the hungry, clothing the poor, uplifting the downtrodden, welcoming the stranger - that unfortunately some self-proclaimed "Christians" seem to have forgotten. I'm not a huge fan of the show, I've only seen it a couple times (most recently the Ordway's 2017 original production that garnered multiple TCTB Awards) and never really listened to the score, but I found this production to be electric. A fantastic touring cast, a tight and intense and fast-moving 90 minutes, and a cool modern design. It feels more like a rock concert than a musical, in a good way. It's the same tour that played at the Orpheum in January of 2020 but with a different cast, but I didn't see that one so this is my first experience with this Jesus Christ Superstar. It can be seen on the Ordway stage in lovely festive downtown St. Paul through December 28, after which this production, or a version of it, will tour the world and play the West End.

"Jesus Christ Superstar" at the Ordway Center for the Performing Arts

The Ordway's recent string of excellent locally produced Broadway sized musicals continues with the popular Andrew Lloyd Webber/Tim Rice rock opera Jesus Christ Superstar, and it's fan-freakin-tastic. Unlike the Ordway's last original, West Side Story, Jesus Christ Superstar is not one of my favorites; I've only seen it once before and never really listened to it (although I vaguely recalled singing a song from the show at a Catholic grade school concert wearing a t-shirt with an awesome '80s iron-on decal). So I went into the show last night with mostly fresh eyes. I still think the piece is a bit weird (the heavy story of the life and death of Jesus, with a comic number and a disco thrown in), but there's something kinda fabulous about it. And the number one reason to see the show at the Ordway is this mostly local cast that is absolutely spectacular. The show is completely sung through, most of it at full volume, and everyone in the lead and featured roles just knocks it out of the park. And every member of the 30+ person ensemble (including several sweet-singing children) completely gives it their all. Notably, this cast is racially diverse (including an African American Jesus*), a beautiful example of color-conscious casting by the Ordway. At this moment in time when our country, our world, is more divided than ever, it's heart-warming to celebrate an inclusive, loving community of diverse peoples. And isn't that what Jesus taught, before his message was distorted, used, abused by institutional religions? Not exclusion but inclusion, not us vs. them but the idea that we are all one, we are all special, we are all worthy of all the bounties that life has to offer.

"Jesus Christ Superstar" at Chanhassen Dinner Theatres

I don't think I need to explain to anyone what Jesus Christ Superstar is about (except for my sister, who asked me, so what's the show about?).  It's the story of, obviously, Jesus of Nazareth and the last days of his life, as told in the form of a rock musical by Andrew Lloyd Webber.  What I didn't realize going into the show, however, is that there's virtually no talking.  It's pretty much two and a half hours of straight singing, and pretty intense singing at that.  Unfortunately, the two leads - Ben Bakken as Jesus and Jared Oxborough as Judas - had the night off when I saw the show.  Their understudies did a great job, but Jared (who was so amazing as Che in Theater Latte Da's Evita last fall) is one of those actors I would go see in anything, and I like Ben too, so I was disappointed to see that dreaded slip of paper in the playbill.  That being said, it was another great night of theater at the Chan, if a little more heavy than usual.

The show began with a love-fest, people wandering onto the stage and greeting each other and their teacher Jesus with hugs and smiles.  But we soon find out that not everything is as pleasant as it seems.  Judas is not happy with the direction things are taking.  And Jesus is overwhelmed by his followers' adoration of him.  Mary Magdalene seems to be the only person who really understands his very human struggles, and soothes him with the song "Everything's Alright."  Michelle Carter gives a beautiful performance as Mary, especially the haunting "I Don't Know How to Love Him."  Both understudies gave a fine performance, as is usually the case.  Jake Klinkhammer as Jesus did an amazing job.  He has a beautiful strong voice and his performance of the song "Gethsemane," in which Jesus questions his fate, was powerful.  Even though Jesus is the title role, I think Judas has the larger role, driving much of the plot.  Broadway veteran Michael Gruber (who performed a charming tap dance with cast-member Tony Vierling at the Twin Cities Theatre Artists Support Japan benefit concert a few weeks ago) was Judas, and did a great job with the complex role.

The show was directed by Michael Brindisi and choreographed by Tamara Kangas Erickson, and they had a big job because there's a huge ensemble cast.  As usual at the Chanhassen, they're all great.  A lot of faces I recognize from countless shows, and I saw a few new ones too.  One of the highlights is the brief but entertaining performance by the always hilarious Jay Albright as King Herod.

The Chanhassen always puts on a quality performance with talented performers and this show is no exception.  It's a little darker and more intense than their usual shows, but really well done.