Jesus Christ Superstar Gospel

The Alliance has done it again. In a big way.
This show was phenomenal from start to finish. So let me start from the top:

The set design, graced to the audiences by Michael Yeargan, was a wonderful canvas of white, cream, and grey. The levels of the Alliance were used in surprising ways with, not only the stage, but the stairway built above it. The traditional wings were gone, replaced by space of hallways and panels. Much props to Mr. Yeargan for placing the band, conducted by Michael Mitchell, on the stage, up-stage center of the action. It helps for the actors to hear the music, the conductor to see the actors, and silent communication to commence for the show.

Great shows like this can only become "real" to the audience, if two things happen:
A. the designers have actually read the show, and
B. the designers have talked to each other.

And they did.

The "paint" for Michael Yeargan's "canvas" was created by lighting designer, Robert Wierzel. And may the heavens help me to see another one of his shows from the balcony level! Mr. Wierzel's lights danced on that stage and created every single mood for this show: sometimes adding very subtle hints and other times adding explosive colors and patterns. It was an amazing feast for the eyes as the actors told their story on stage.

And what a story they told! I know this story from Sunday School from the early days of St. Helen's. Granted, I knew nothing of the original musical, "Jesus Christ Superstar", but I let this play tell itself. By definition, it is truly a "musical": no dialogue, no monologues - everything told in song and dance and spirit. I was delighted to see the talents of Eugene Russell, Valerie Payton and Ms. Bernardine Mitchell on the stage. God bless working actors! The talented Ms. Nicole Long proved her worth with 'I Don't Know How to Love Him', but the song was a wee bit whiny. I would have enjoyed her pulling back just a tad on the elongated notes and continuing to let the emotion show. But her standing ovation was well deserved. Darius de Haas was exceptional as Jesus. He worked his entire body, mind and spirit for this role and did it justice. Eric Jordan Young was a powerhouse as Herod, with his dazzling costume and sly-pimp choreography: to the point, the man just didn't want to be bothered with Jesus! Destan Owens worked his set pieces very well as Pilate. He was the actor who introduced the audience to the moving staircase. His gentle, well-formed steps on and off the staircase let those of us who work in theater take a deep breath and know that he'll be ok. Darryl Jovan Williams played a Judas that will forevermore be hard to beat. The audience wanted to despise him so badly, and when he busted out in "Jesus Christ Superstar", the whole audience was with him, regardless of what he had done.

Much props to Paul Tazewell for his choice in costume design. It was, like Mr. Wierzel's work, a simple canvas: a cast of predominately black performers in white costumes against a marble background. And it worked marvelously. The dazzling colors of Herod in his bright purple and gold, contrasting to the black suit of Pilate and the deep, rich red colors of the priests helped to bring the story to its deeper meaning.

The opening of Act II with the Last Supper was so well-placed that it could be a painting all by itself. 'Gethesemane" would have brought the audience to their feet had there not been more numbers to follow. It was so incredibly moving that many tears were shed around me (minus the woman next to me who fell asleep during the softer songs all evening.) The crucifixion was an amazing combination of Mr. Yeargan, Mr. Wierzel and the actors all working together to let symbolization say the words that they couldn't express.

There is talk of this show going to Broadway. And why not? It has all the makings of a star-musical, as long as they keep the entire cast. This unit worked so well together - anything else would not have the same energy. It was a beautiful, religious and moving experience for a Sunday evening.