REVIEW: Jesus Christ Superstar (Theatre at the Center)

Update: Due to a misrepresentation (i.e., error) in our critique of this production, this review has been adjusted to address the inaccuracy.  To Theatre at the Center and the production’s personnel, my apologies.  Scotty Zacher, Editor.

Uneven “Superstar” finishes strong

 

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Theatre at the Center presents
   
Jesus Christ Superstar
  
Music by Andrew Lloyd Webber
Lyrics by
Tim Rice
Directed by
Stacey Flaster
at
Theatre at the Center, 1040 Ridge, Munster (map)
through August 8th  |  tickets: $36-$40  |  more info

reviewed by Michael L. Harris

Sitting amongst the mostly 40+ crowd, gathered for the near capacity performance of Jesus Christ Superstar at the Theatre at the Center, I wanted to love this show. The stage-to-movie musical is certainly a familiar one, with two of the songs – the title song and “I Don’t Know How to Love Him” – making it to the Top 10 in the 70’s when it first debuted. In the end, however, the show is a mixed bag.

Jesus Christ Superstar - Theatre at the Center 06Musically, the range and quality of voices is quite amazing. Max Quinlan (Jesus) goes from low bass to high falsetto with amazing ease, as does Joe Tokarz as Judas Iscariot, the counter lead.  Problems arise, however, with the gigantic thrust space and the overzealous back-up orchestra that succeeds in swallowing up poor Jesus. These elements tacitly become the superstars; Jesus just a set piece. Given that the score is extremely challenging and the cast is vocally exquisite, it’s unfortunate that dynamically this disparity exists. The actors are isolated and disconnected, both from each other and from the audience. Experts say that much of acting is “reacting,” unfortunately there’s far too little of the latter in this Superstar.

This distancing of the audience is more of a directorial decision than actor disconnection. Indeed, director Stacey Flaster seems to be aiming for distance rather than intimacy.  Objectively, this works with Sanhedrin. When it comes to Jesus, however, one never gets as close as preferred. Indeed, there are moments of splendor, but overall the sheen is more matte than glossy. 

For the most part, the First Act lacks inspiration. After the introduction of the Apostles – which is staged more as a “love in” – there are signs of better performances to come. Audrey Billings‘ (Mary Magdalene) rendition of “I Don’t Know How To Love Him” is warm and tender. Larry Adams’ Pontius Pilate is spot-on, giving a sense of both the character’s greatness and shortcomings. Adams’ professionalism and stage presence are quite commanding, accentuating what is missing from Quinlan, whose performance shows adroit characterization but seems better suited for film/TV than the stage. Additionally, Steve Genovese steals the show with his second act opener, “King of the Jews” and Jonathan Lee Cunningham delivers a solid rendition as Simon Peter in his credible “Denial” sequence .

 

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The best staging exists within “Could We Start Again, Please.” Both Billings (Mary) and Cunningham (Peter) are at their best in this number, and the entire cast shines as an ensemble, including Quinlan (Jesus), making this by far the apex of the play.

Barry G. Funderburg’s sound design is flawed.  The centralized speaker system – with no side speakers – creates a situation where the orchestra often overpowers the choral work.

Nikki Delhomme’s costume’s are a mishmash – at times delightful; at other times confusing. Delhomme’s concept of universality through an ancient/modern mix generally works, but what’s up with the dress-with-a-funky-hat combo that the Jesus Christ Superstar - Theatre at the Center 08Sanhedrin wear??? I couldn’t help thinking, as the Sanhedrin descended the massive centralize staircase, of the old Lucille Ball sketch where she comes down the stairs with the huge pile of fruit on her head . (Thankfully these women are much more coordinated than Lucy!)

The make-up design is equally confusing. There must be a method to the madness, but the painted kabuki masking on the Sanhedrin principals amounts to overkill.  Conversely, the quasi clown make-up donned by Herod works .

Flaster’s choreography is generally exemplary, but doesn’t always fill the stage. And in some instances – notably during Judas’ famous negotiations with the Sanhedrin – actually blocks the action.

Kudos to Ann N. Davis’ technical direction – rigging and scene changes move seamlessly.

Deficiencies aside, if you’ve never seen the show, and/or are in a retro mood, Jesus Christ Superstar is worth two hours of your time – especially the powerful resurrection of the second act.

  
   
Rating: ★★½
  
   

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REVIEW: The League of Awesome (Factory Theater)

This “League of Awesome” fails to live up to its name

 

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The Factory Theater presents
   
The League of Awesome
   
Written by Corri Feuerstein and Sara Sevigny
Directed by
Matt Engle
at
Prop Thtr, 3502 N. Elston  (map)
through August 21  |  tickets: $15-$20  |  more info

reviewed by Keith Ecker 

(Before I launch into my review of the Factory Theater’s The League of Awesome, I’d like to thank the theater staff for assisting me after I suffered heat exhaustion the first time I tried to see this play. Like a good critic, I cut out early so as to avoid passing out in the audience and stealing the show, so to speak.)


The idea of staging a comic book must have been alluring to the Factory Theater ensemble.

“We can have sound effects! And fight scenes! And super powers! And title cards!” you can imagine them saying as you watch The League of Awesome, the quirky theater company’s newest comedy about an all-female group that, after banishing their arch-nemesis, finds itself stuck with nothing to do.

DSC_0082 But although these little gimmicks are fun and inventive, they do not make a strong play. A strong play requires a sturdy backbone of a story, and unfortunately, this backbone is fractured. That’s not to say that the supplemental sound effects and superpowers—done in Kabuki fashion where assistants dawn black garb to remain invisible to the audience—don’t intermittently work to their desired effect, but without a captivating context to stick these things into, it’s just a lot of noise and flashy ribbons.

The story centers around the “League of Awesome”, a group of superhuman females that rid the city of crime and super villainy. The Beacon (Corri Feuerstein, who also co-wrote the play) has the power to redirect beams of energy. Cat Scratch (Erin Myers) uses sharp claws to scratch her enemies, while her teammate and thinly veiled lover Rumble (Melissa Tropp) uses her brute strength. Finally, there’s Sylvia (Sara Sevigny, who also co-wrote the play), who has the power to conjure anything at will by preceding it with the words “The way I see it…”

At the play’s opening, the team is combating The Sorrowmaker (Dan Granata), a villain who has the power to make people sad. (Coincidentally, the villain is also the ex-boyfriend of The Beacon.) The team defeats The Sorrowmaker after Sylvia banishes him to the pages of a lost installment of the Hardy Boys series.

One-year later, the league has eliminated all crime, thereby eliminating their usefulness. Now they are bored and drink all day. Then, Sylvia’s sister stops by—a plot point that contributes nothing to the story—and reveals her ability to make people break out into song at will. The characters spend more time drinking and being bored as we the audience are bored along with them, but unfortunately have expired our drinks.

Of course, The Sorrowmaker breaks out and seeks to exact his revenge. Meanwhile, Sylvie drunkenly conjures a new superhero named Ms. Great, whose hard-lined sense of justice and morality would make Jesus feel like a sinner.

There’s more to the story, but it quickly becomes a jumbled morass, with subplots dead-ending, floundering and being forgotten about. There’s just too much going on at once for us to become invested. Will Cat Scratch and Rumble get past their petty fighting and stake their purpose within this story? Will Sylvie’s sister come to terms with her powers and will her character become developed enough for us to care? And why is Sylvie’s proclivity to get drunk such a big part of the first half of the play but is kind of forgotten about in the second half?

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Despite all the flaws in the script, the acting is solid. Granata lays it on thick as the spurned villain. He’s got the maniacal scowl and laugh down to a T. Sevigny’s brashness as Sylvie pays off for its comedic effect. But the biggest show-stealer of all is Wm. Bullion as Gladys, a vagrant and the play’s narrator. His delivery and aloofness is laugh-out-loud funny.

With a much tighter script, The League of Awesome could be an awesome production. It has strong performances, unique effects and interesting fight choreography. But without a reason to care about all the whiz and bang on stage, it plays out like a confusing collage of comic book panels.

   
   
Rating: ★★
      
      

 

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