THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Friday, May 19, 1995 TAG: 9505190096
SECTION: DAILY BREAK PAGE: E9 EDITION: FINAL
TYPE: Theater review
SOURCE: BY MAL VINCENT, THEATER CRITIC
LENGTH: Medium: 74 lines
IN A WAY, the show-business phenomenon known as ``Jesus Christ Superstar'' is having a homecoming.
Following huge sales of the initial rock-opera recording in London, the first staged concert tour opened at Hampton Coliseum more than two decades ago. The cast featured the album's Mary Magdalene, Yvonne Elliman; composer Andrew Lloyd Webber and lyricist Tim Rice flew in from London and took a curtain call.
Since then, the musical, which depicts the last seven days in the life of Jesus of Nazareth, has seldom been off local stages. The 1971 Broadway over-production, directed by Tom O'Horgan, and the 1973 movie version, directed by Norman Jewison, kept it much in evidence.
There is no crying need for a revival, for the once-daring score has become overly familiar. In any case, it deserves better than the chintzy bus-and-truck version on stage at Chrysler Hall. Colored lights can make up for much, but a small cast striking pseudo-religious poses can't fill the large, empty spaces. This production has the look, again, of a concert version.
The evening is largely saved by the charismatic presence of Ted Neeley, star of the 1973 movie, as Jesus. His acting amounts to little more than ceremonial gestures as he parades regally over and around a shallow staircase that looks as if it were designed to travel.
In the vocal category, however, he intrigues, and occasionally thrills. In the more agonized moments, his voice soars to a whiny scream that is effectively alternated with moments of introspection. Neeley brings a self-assured presence to the role that is in contrast to all the frenzied, dramatic groping around him.
On opening night, perhaps to match the rock-arena look of the staging, some fans held up ``We Love you, Ted'' banners during the curtain calls. The Norfolk run will register a landmark in his long association with the role; tonight, he will give his 1,000th performance.
The best supporting voice was that of Anthony Dibenedetto as Simon. The role of Judas, which had been publicized to be played by Carl Anderson, also a veteran of the movie, was performed by understudy David Velarde. He is a muscular, handsome and highly sympathetic Judas, but also a quite bland one. Much of the intensity of the role was missing.
Christine Rea is a serviceable Mary Magdalene in handling the passive and adoring qualities of the role. She has the score's most famous ballad, ``I Don't Know How to Love Him.'' She also has one of the most melodramatic curtain calls on record, reacting tearfully and humbly to an ovation that wasn't actually there.
The dancers work hard, but all the energy doesn't hide the rather ordinary staging by Tony Christ-opher.
Two decades ago, ``Jesus Christ Superstar'' was picketed by church groups. Today, it is a landmark musical icon - the show that achieved the major breakthrough between pop records and musical theater. With this show, even more than ``Hair,'' rock music finally broke into theater.
In this streamlined, kitschy edition, Jesus rises off the cross Peter Pan-style, ascending to the lofty heights of the stage as the cross turns from white to gold. There is no three-day wait, no subsequent stay on earth. Still, one can hardly argue with a phenomenon that has done exactly what it set out to do - sell tickets.
The orchestra sounded thin, with a heavy weight on the percus-sionist.
Although hardly an inspired, or even imaginative, production, this ``Jesus Christ Superstar'' does have the presence of one of the more famous essayists of the title role. While no actor, Neeley's vocal histrionics keep this familiar vehicle afloat. ILLUSTRATION: Photo
Ted Neeley's performance tonight will be his 1,000th in the lead
role of ``Jesus Christ Superstar.''
by CNB