JESUS CHRIST SUPERSTAR – LIVE ARENA TOUR
UK, 2012, 105 minutes, Colour.
Tim Minchin, Ben Forster, Melanie C, Chris Moyles.
Directed by Laurence Connor (stage), Nick Morris (television)
Successful on stage as well on LP in the late 1960s, early 1970s, the film version, directed by Norman Jewison, was released in 1973. There have been many performances since then, notably a film made for television in 2000 and now this version for the 40th anniversary.
The performance was filmed in Birmingham at a Live Arena, a vast auditorium and very large audience, a prominent stage with many steps, a huge screen at the back, as used in rock concerts, with the live-action in the foreground and the film on the screen in the background. However, there is an elaborate use of the screen, a range of images, words and slogans, close-ups of the performers, and such effects as the screen gradually filling with red during the 39 beatings, the scourging.
It is interesting to reflect on the 40 years of the Superstar experience. Initially emerging as individual records, the play was a hit all over the world, audiences overcoming the strange experience of referring to Jesus as a Superstar. Andrew Lloyd Webber and Tim Rice were in their 20s when they wrote this theatre piece, after Joseph and his Technicolour Dreamcoat, and followed by Evita, Lloyd Webber having an extraordinary career, especially with The Phantom of the Opera. It is interesting to note that Andrew Lloyd Webber himself comes on stage at the end of the performance, reminiscing, congratulating the cast.
Many of the songs are well-known in their own right, especially those sung by Mary Magdalene, Everything is All Right and I Don’t Know How to Love Him.
What is the audience of 2012 and onwards to make of this rendition of the Gospel story? An opportunity to know some of the details of the Gospel story and of the passion and death of Jesus? Seeing the episodes on stage as representing fact? And involvement in the whole experience, something of spirituality?
The film shows the conflict between Jesus and Judas, the passion and death and Jesus’ ministry seen from the perspective of Judas, his observations, his disillusionment, his selling out of Jesus, his hanging himself – and it is Judas who has something of a resurrection, leading the chorus in the Superstar song.
Of particular interest is the casting of Tim Minchin, actor, composer (especially of Matilda), social critic, as Judas. Ben Forster is Jesus.
Ben Forster is not always forceful as Jesus but has many fine moments. He has Jesus many songs, especially the moving sequence the equivalent to the agony in the Garden of Gethsemane.
Herod, played by Chris Moyles, is attention-seeking, very humorous in his presentation of Herod as a British comedian, on stage, playing to the crowds, and the suggestion that everything is being video recorded. Herod’s song is always a showstopper – and is here.
There is a strong supporting cast, a short singer playing Annas, a very tall singer playing Caiaphas, with his customary very deep voice. The presentation of Pontius Pilate is quite unique, being dressed as a judged by his attendant at one stage, coming in from playing sport, T-shirt and shorts, doing situps as he interrogates Jesus. And finally condemning Jesus to death. A pensive song.
The supporting singers and dancers have a great deal to do, a great number of dance routines, participation in the rising of the zealots, the crowd wanting to be healed, the hosanna of Palm Sunday, the condemnation of Jesus – crucify him, the spectacular Superstar. There is also the scene with Simon the Zealot trying to persuade Jesus into action.
Melanie C of the Spice Girls is Mary Magdalene, with her special songs as well is the plaintive duet with Peter.
Jesus Christ Superstar was a Rock Opera of the period, with rock ‘n’ roll overtones, with some primal screams.
But, ultimately, this is a story of the passion and death of Jesus, his preaching, his healing and its effect on him, the betrayal by Judas, the Last Supper and the Eucharist and his body and blood in bread and wine, the agony in the Garden, the 39 beats and flogging, his being crucified – and Jesus being lifted high over the auditorium and close-up on the screen of his death.
Jesus Christ Superstar has become a classic over the decades, its music, its lyrics, the presentation of the gospel events, the theological implications, spirituality implications.
