Each creative aspect of theatre combines to make this production of JESUS CHRIST SUPERSTAR something incredibly special. The performances, the choreography, the scenic design, etc. are all individually outstanding, but it’s the final combination of these things that put the experience on another level.
OLD STORY RE-IMAGINED
The plot of this now classic Andrew Lloyd Webber rock opera focuses on the last few days of the life of Jesus Christ. The main characters are Jesus, Judas and Mary Magdalene. Most audience members will know the gist of the story but may never have seen it portrayed in this bold fashion. The story is set to powerful rock music that creates a visceral experience for anyone just listening.
The best and most simple way to describe this production is big. To put this into perspective here are some numbers: over 80 artists on stage, 39 ensemble members, 37 musicians, and 90 pounds of gold confetti used at each show. Big may be an understatement.
LYRIC OPERA KNOWS SPECTACLE
The movement of the ensemble as a single body makes every song visually stunning. Choreographer Drew McOnie perfectly guides the cast to become an intense mob at times and a seemingly single being at others. The precision of the movement is incredible to watch.
The onstage violence is worthy of notation as well. The fate with which Jesus is met can definitely be an uncomfortable event to unfold onstage. Fight director Nick Sandys toes the line of brutality and an almost beauty with how he creates these events. It does not shy away from the ferocity by any means but represents it with compassion.
STUNNING TALENT ASSEMBLED
Heath Saunders gives a heartbreaking and powerful performance as Jesus. He gets to point that, if you take away the mystique, Jesus is, at his core, just a man who knows he’s about to die. His incredible vocal range fits perfectly into this larger than life production. Saunders brings a graceful physicality to the more violent scenes but never lets go of the emotion of the moment. Jo Lampert gives a calming and stellar performance as Mary. Her moments are welcome breaks in intensity and her voice is something you will wish was utilized more often. Her rendition of I Don’t Know How to Love Himis worth the price of admission in itself. Shaun Fleming stops the show with his cruel yet somehow lovable performance as Herod. He creates a character both flamboyant and terrifying which is no small feat.
RECOMMENDED
Top Pick For: Lovers of full rock music
Not recommended for: Lovers of small, intimate theatre
Note: This is now added to the Picture this Post round up of BEST PLAYS IN CHICAGO, where it will remain until the end of the run. Click here to read – Top Picks for Theater in Chicago NOW – Chicago Plays PICTURE THIS POST Loves.
When:
Through May 20, 2018
Photos by
Todd Rosenberg and Andrew Cioffi
Cast:
Ryan Shaw
Heath Saunders
Jo Lampert
Candace Edwards
Keirsten Hodgens
Sandyredd
Eric A. Lewis
Cavin Cornwall
Joseph Anthony Byrd
Drew King
Antwayn Hopper
Mykal Kilgore
Michael Cunio
Andrew Mueller
Shaun Fleming
Ensemble:
Ashley Andrews
Caleb Baze
Isaiah Tyrelle Boyd
Jerusha Cavazos
William M. Combs
Richard Crandle
Matt Deitchman
Candace Edwards
Janet Marie Farr
Joseph Fosselman
Brad Giovanine
Scott Gryder
Haley Hannah
Keirsten Hodgens
Antwayn Hopper
Drew King
Eric A. Lewis
Angel Lozada
Adam Michaels
Gabriel Mudd
Kenneth Nichols
Jennifer Noble
James Odom
Kristen Paulicelli
Christina Pecce
Thomas Lewis Potter
Sandyredd
David Robbins
Jaquez Andre Sims
Maia Surace
Clay Thomson
Corinne Wallace-Crane
Ron Watkins
Sherry Watkins
Jonah D. Winston
Michelle Wrighte
Where:
Lyric Opera
20 N. Upper Wacker Drive
Chicago
Tickets:
Online at Lyric Opera
Or by phone at 312-827-5600
Creatives:
Andrew Lloyd Webber
Tim Rice
Tom Deering
Timothy Sheader
Tom Scutt
Lee Curran
Nick Lidster
Michael Black
Drew McOnie
Simon Hardwick
Ashley Andrews
Sarah Hatten
Jordan Lee Braun
Rachel A. Tobias
Rachel C. Henneberry
Sandra Zamora
William C. Billingham
Michael Keefe
Nick Sandys
Poppy Hall
James Hassett
Editor's Note-- Click here to find more Picture This Post reviews by Stephanie Dykes.
Note: An excerpt of this review appears in Theatre in Chicago
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