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I doubt I’m alone when I say that Jesus Christ Superstar is one of the greatest musical productions of all time. It’s easy to love. It has all the elements that make a potent stage experience from marvelous music to compelling leads to an engaging storyline to explosive dance numbers. When it was first staged fifty years ago, the brilliance of composer Andrew Lloyd Weber and the on-target lyrics of Time Rice coupled with the performances Ted Neeley (Jesus), Yvonne Elliman (Mary Magdalene) Carl Anderson (Judas) and a talented ensemble were nothing short of magical. The edgy production shot its way through the 1970’s with critical acclaim where it still packs theaters today with new generations of vocally gifted actors taking on the classic roles. The musical, which was first staged in 1971 was inspired by the 1970 album with Deep Purple’s Ian Gillan singing the part of Jesus.

As decades have since flown by so have the different variations of this staged phenomenon. And really, it's as simple as this – for a musical production of Jesus Christ Superstar to be successful – and memorable, the show must have a strong Jesus, Judas and Mary. The current touring production of Jesus Christ Superstar, which is in the midst of a two-week run at Chicago’s Cadillac Palace, has just that. Aaron LaVigne is a wonderful choice to fill the sandals of Jesus. His guitar-playing presence is warm while strong, his vocals gentle while powerful, peppered with impressive range. Omar Lopez-Cepero as Judas must have been an easy casting choice as he is one who cannot only belt with the best of them, but effectively takes us down the dark road travelled by Jesus’ skeptical right hand. Jenna Rubaii rounds out this trinity of talent with an amazing performance that theatregoers will long remember. The performances of these three carry the show with such ease and command that it’s talented ensemble can freely do their thing to make this an incredibly stunning production Jesus Christ Superstar fans will not want to miss.

The musical centers around the final days of Jesus that lead to his crucifixion. As his popularity rises with the large number of people who see him as the Messiah, enemies emerge from both church and state that want him out of the picture. This period deals with the many complexities and human emotions, that he may have experienced, but also focuses on Jesus’ complicated relationship with Judas and Mary.

The music is timeless, and the musicianship is nothing short of incredible thanks to an inspiring performance by LaVigne (especially, during his rendition of “Gethsemane” – Wow!), and a flurry of praise-worthy vocal performances including Rubaii’s show-stopping “I Don’t Know How to Love Him” and Lopez-Cepero’s “Damned for All Time”.  

Outside of its main characters and its energetic, well-choreographed ensemble, Jesus Christ Superstar also gets a boost with several other standout performances. Tommy Sherlock is outstanding as Pilate while Paul Louis Lessard dazzles in the always crowd favorite sequence of “King Herod’s Song”, a number where the colorful king mockingly tests Jesus’ restraint. Alvin Crawford as Caiaphas leads the disturbed Pharisees with booming authority. 

In all, this production, holds its own and then some while maintaining the integrity of the hit musical staged fifty years ago. With admirable direction by Timothy Sheader and brilliant choreography by Drew McOnie, this production is topped with a uniquely crafted set and a commanding orchestra that compliments so well the stage musicians scattered about.

But let’s get back to Jenna Rubaii. As a vital component to making this touring show the smash that it has been over the past few years, it takes a special someone to pull off the role of Mary to the extent where not only audience members are clearly captivated by each note she sings, but to also have the ability to fully immerse us into this loving, caring dynamic between herself and Jesus. Within the first couple bars of “Everything’s Alright” it was apparent this production really found something in Jenna Rubaii.

Jenna Rubaii in the North American Tour of 'Jesus Christ Superstar'. Photo by Matthew Murphy, Evan Zimmerman - MurphyMade.

 

After such a wonderful performance, we wanted to find out a bit more about Jenna and had the chance to toss a few questions her way.

Buzz Center Stage: It seems like the cast is really tight and works well together. What is the chemistry like off stage? 

Jenna Rubaii: We are like family. Most of us have been a part of this since 2019. We were brought into a show where the subject matter is really deep and challenging and the show itself is really demanding and requires an emotional presence - vocal and physical presence. Beyond that, I feel that we as a company are all really close because we know how important this piece is, how much weight it carries with it being the 50th anniversary. I think artistically, it already meant so much to every single one of us. But as you see in this production it is very much an ensemble piece. And the mob mentality… and I’m thinking that everyone being a part of that just amplifies the importance that every single person feels. And I think that off stage, as artists and individuals, that’s an important weight to carry. So, I think that we as human beings, we’ve been so supportive of each other on and off stage. And because of what we have gone through together- Covid - this show was really the only constant in our lives for the past three years and has made us even stronger. I think, I hope, that is clear to the audience. We had that unique experience of going through that really challenging time and the subject matter really amplifies that a bit.

Buzz Center Stage: The work of Andrew Llyod Webber is timeless…. Since you mentioned the mob mentality in this production, how do you think Jesus Chris Superstar is still relevant today - with everything that has been going on…  Is this show still as relevant? 

Jenna: Absolutely. People are always looking for a leader. Someone with some sense of direction. Someone to look to. Something to look to. Obviously, you get that with Jesus. But we have also talked about how much community is too much community? Communities are always bringing people together, but what happens when there is too much of that, it can be destructive as well. So hopefully that point gets across in our production. And obviously with the climate of everything around the world, this piece really stands true no matter if you are religious or not. 

Buzz Center Stage: About yourself… How did you start out? And can you share how your journey as an artist took you to your role in an international production of Jesus Christ Superstar? 

Jenna: I grew up in Clearwater, Florida. When I was six years old, I auditioned for an all girls song and dance troupe. It was kind of like Glee meets the Mickey Mouse Club. From six years old to eighteen - for twelve years of my life - I had the unique opportunity to perform about 30 shows a year for different corporate conventions, events, we even sang for two presidents. In my hometown, there is a lot of spring training, so I sang the National Anthem all the time for sporting events. I grew up wanting to be a pop star - and we could use handheld mics in this show. It was really fun. I didn’t get into theater until after high school. Then I decided to go to the University of Miami for college - the school for theater. After school, I immediately ended up booking the national and international tour of Green Day’s American Idiot. And I actually have a picture and need to do a side-by-side screenshot because we performed at the Cadillac Palace about 9 years ago. It’s fun to revisit some of the places that you have already been on tour. So, I did American Idiot and then I booked another show that took me abroad for a while. So, I've done a handful of tours. And I ended up booking Groundhog Day and made my Broadway debut with that. And something else that is a fun little mention is that my first introduction to musical theater was performing in the children’s chorus of Joseph and the Technicolor Dreamcoat - when that touring company came through my hometown. So, I’ve come full circle with Andrew Lloyd Webber - different biblical musicals. 

Buzz Center Stage: Wow. So, the stage is no stranger to you. You have lived much of your life on the stage. You mentioned the holding of the microphone in this production - this was an interesting choice for the show because little mic pieces are always used these days. But I didn’t miss it. I loved that they had certain characters holding the mic. It presented way more authority and more of a rock atmosphere. And I loved that touch by the director.

Jenna: Thanks! It is definitely an avenue of power. When somebody has the mic it’s an action of “this is my time, this is my story.” Of course, I think the most obvious choice for that is they wanted to bring the rock concert element to it. Everyone has opinions about the mic stands the microphones, but I feel that without them it would just feel like another theatrical piece. Whereas this blends the rock show vibe into the production. 

Buzz Center Stage: Were you a fan of the show before you were cast? 

Jenna: Of course! To be honest, I only knew the Mary material and I wasn’t super familiar with the rest of the show. But my dad is a huge fan and knows every single lyric to the show. I grew up listening to “I Don’t Know How to Love Him”. Of course, you don’t realize how much the show has impacted people. The show is 50 years strong. There was a time at the beginning of the tour when I started reading comments on Facebook and I realized just how many people were saying “this is my favorite show of all time. This is my favorite music”. And that is really when it hit me on how important a show like this is. 

And you don’t really get the opportunity to do that kind of stuff all the time. It’s really special. 

Buzz Center Stage: I’m sure your dad was thrilled when you got the role. 

Jenna: Yes! He’s been to the show many, many times. 

Buzz Center Stage: Yvonne Elliman, who plays Mary Magdalene in the original production, was she an influence? Did you try to interpret the role in your own way? How did you attack the role? 

Jenna: I try very hard to not watch or listen to other productions because I don’t want to feel like I’m copying anybody. Also, in this particular, the way Timothy (Sheader), our director, approached this production - he very much did not want us to play with any idea of who these people were. He did not want us to put a hat on it and say, “this is what I think Jesus is like,” or “this is what I think Mary is like.” So, we really approached it by bringing ourselves the piece. That made it really exciting as a performer because you don’t really get tired of the piece. But it’s also really challenging because you are being asked to bring yourself - however you are - to the table authentically every single night. And that is difficult because you still have to get the same story across and have the same intentions with the song, but you are not the same person every day. It was a very organic “bring yourself” approach. It’s a weird challenge and in a strange way makes it easier because I’m not trying to be someone else. I’m simply being me trying to convey the intent behind the song. 

Buzz Center Stage: I felt your performance was absolutely stunning. I really enjoyed your voice and your take on Mary. 

Jenna: Thank you! I really appreciate that! 

Buzz Center Stage: Ok, final question. Jesus Christ Superstar is a big deal, especially to someone like me who puts it in the top musicals of all time - What are you thinking for after this? What are your aspirations beyond Mary? 

Jenna: Oh gosh! It is a big question. I think, and I think I can speak for most of my cast members too, that this show really fulfilled me in an artistic and personal way that I hope I can continue to do more art like this. The production feels more like an art piece than a theater piece. I always want to be part of something that is thought provoking – that is really human - really brings an aspect of humanity to the table. And something that is new. I would love to be able to work on a new musical. Something with a lot of meat in it - complex and interesting. And I think that is what most of us really want to be a part of. Something that challenges you in that way and fulfills you in that way and that can also translate to audiences and make them think too. So, nothing specific, but that is what I hope to put out into the universe. But the goal is to find something that is challenging for you, exciting for you, and that fulfills you in whatever way you personally need. Everyone has their own artistic journey.

Buzz Center Stage: That sounds great. Well said. You really seem to seek out challenges. And you have accepted and met the challenge in this production as Mary. The audience can just feel it - that you aren’t just up there doing the show, but that there is a passion within you projected throughout the house

Jenna: Thank you. 

Buzz Center Stage: Thank you for talking! 

*Running through July 31st, this is a well-crafted, must-see musical production that longtime fans and Jesus Christ newbies are sure to cherish. For tickets and/or more info click here.

Published in Theatre in Review

It’s been three days since seeing Jesus Christ Superstar at Lyric Opera’s Civic Center and I still find myself going from character to character in the kitchen, in the car, while I’m working, while doing chores around the house and, moments ago, in the elevator. I may not be able to hit the brassy baritone notes sang by Cavin Cornwall as Caiaphas (or any of the character’s notes for that matter) but I give it my best shot because it’s just one of those shows – the songs stick – as they should. After all, we are talking about what many consider Andrew Lloyd Weber’s greatest work and perhaps one of the most masterful musicals of our time. We are talking about a musical that does not have a single weak number.

Having seen several variations of Jesus Christ Superstar from it’s very early runs in the 1970’s with Ted Neeley, many as he aged (the last while in his mid-sixties), and with a handful with others in the role of Jesus, Lyric Opera’s stage adaptation stays true to form – and then some. Cast members donned in hoods spread out across the main floor of the theatre before running to the stage during the opening overture. The set and costumes take us to a somewhat post-apocalyptic era, and though unnecessary as the musical is ever so effective taking place in biblical times, we still get the point.

With clever and ever-so-fitting lyrics by Tim Rice and an unbeatable soundtrack by Lloyd Weber, Jesus Christ Superstar takes us through Jesus’ rise in popularity as the promised messiah for his people over his last days. At the same time the pharisees show alarm and fear as Jesus is as a threat to their teachings – a threat that must be destroyed. While taking us through the last supper and eventually the crucifixion, the musical closely examines the love/hate relationship between Jesus and Judas, and the inner conflicts had by the latter. We also get a look at Rice and Weber’s perception of Mary Magdalene’s bond with Jesus, as she takes on a motherly approach in “Everything’s Alright” and that of almost a confused lover in “I Don’t Know How to Love Him”.

Jo Lampert as Mary Magdalene soothes Jesus (Heath Saunders)

Over eighty artists take the stage to perform with the thirty-seven musicians strategically placed in plain view on the set. The talent in this production is nothing short of spectacular, the choreography original and fun, particularly in that of the pharisees in the number “This Jesus Must Die,” adding a unique element of menace. The standouts in this show are many. Ryan Shaw delivers big as Judas holding true to the role’s intention immediately impressing from his opening number “Heaven on Their Minds” while Jo Lampert as Mary Magdalene shows great vocal command as she goes from gentle and soothing to prevailing power.

Ted Neeley who portrayed Jesus in the 1973 film, touring the role prior and still doing so to this day, along with Deep Purple’s Ian Gillan who was the voice of Jesus on the original album recording, set a precedent that, if not met, can lead to disappointment by the production’s most loyal fans. Gillan and Neeley set the bar high. The two were so successful in adding a rock and roll element to Jesus - screams and all - so that many in the role to follow were doomed to fail. This is not the case in Lyric’s current production. Heath Saunders exemplifies what the Jesus Christ Superstar loyal want to see in the role of Jesus. Diehards of the production call for a rock and roll Jesus and Saunders gives them just that. While stunning the crowd with his wide vocal range and hitting the highs where we’ve come to expect the highs, Saunders also gives us a Jesus who is sensitive, caring and embodies that of a teacher.

After tearing it up as Judas in Paramount’s 2017 production of Jesus Christ Superstar and taking on an ensemble role in the recent NBC televised special, Mikal Kilgore returns to the classic musical, this time as Simon Zealotes. Kilgore again puts forth an untouched performance, only leaving the audience with the regret his lead numbers are limited. Michael Cunio as Pilate Shaun Fleming as Herod are equally impressive as they pass the buck on who will be responsible for Jesus punishment that is called for by the people. Rounding out the sensational cast are Joseph Anthony Byrd as Annas and Cavin Cornwall as Caiaphas whose performances as the sinister pharisees are also on point.

Shaun Fleming as Herod

Jesus Christ Superstar is one of the great modern-day musicals and Lyric Opera of Chicago is one of Chicago’s premiere venues. Their pairing makes a lot of sense. Lyric spares no expenses presenting an all-around magnificent cast, a collection of Chicago’s finest musicians, superb direction and choreography and a set and lighting design that includes a 37-foot cross illuminated with 101 lights and seven full-sized trees that stand in the background overlooking all the action.

Categorically recommended.

Jesus Christ Superstar is being performed at Lyric Opera of Chicago through May 20th. For tickets and/or more show information, visit www.lyricopera.org.

 

Published in Theatre in Review

Here comes the feel-good show that both adults and kids will enjoy. Based on the 2003 movie by the same name starring Jack Black, School of Rock-The Musical is featuring music from the movie, as well as an original score by Andrew Lloyd Webber and lyrics by Glenn Slater.

If you have not seen the movie (shame on you), here’s the basic plot: Dewey Finn, a desperately broke musician who lives on his best friend’s couch, gets an opportunity to pose as a substitute teacher at a posh $50,000/year tuition prep school, where well-to-do kids aim for “Harvard, or at least Cornell”. Unbeknownst to the school staff or the parents, Dewey jump-starts kids’ rebellious stage by organizing his class into a band and teaching them to play rock instead of learning math and history. In the process he builds kids’ self-esteem, gets them to forget about the troubles at home (yep, rich kids have problems too), and turns them into rock stars. Dewey falls in love with a beautiful, albeit uptight, school principal and gets her to reconnect with her inner rocker chick, and the parents change their minds on education.

Multitalented cast includes Broadway veterans Rob Coletti who is absolutely fabulous as Dewey, Lexie Dorsett Sharp (a cartoonishly entertaining Rosalie), very capable Matt Bittner as Ned, and Emily Borromeo (as hilariously played Patty), to name just a few. A slew of adorable, not to mention quite accomplished, kids will melt your heart and win you over without even trying. Ava Brigliawho, who plays Summer, already has a few shows under her belt (Matilda the Musical, and Gypsy), and Gilberto Moretti-Hamilton (Freddy, a New-York native, had been named “Musician of the year 2017” by the Boys Club of NYC; he plays drums (in the show), as well as piano, bass, xylophone and percussion. For most of the remaining young actors, School of Rock – The Musical is their debut. These kids are so cool, and they play their instruments live in every show!

This high energy production is moved along by the dynamic ever-changing set (scenic and costume design by Anna Louizos, lighting design by Natasha Katz) that moves seamlessly between Dewey’s apartment, school’s different rooms and the rock band stage. Great music hits are born in the kids’ classroom, and everyone wants to jump up and down to “Stick It To The Man”.

School of Rock- The Musical premiered on December 2015, and was nominated for four 2016 Tony awards, including Best Musical, Best score (Lloyd Webber and Slater), best Book (Fellowes). It also won the 2017 Oliver award for Outstanding Achievement in Music.

School of Rock – The Musical will play at the beautiful Cadillac Palace Theatre for a limited three-week engagement November 1-19, 2017. For more show information visit www.broadwayinchicago.com.

Published in Theatre in Review

Of the many Andrew Lloyd Webber hits, Jesus Christ Superstar has always been a personal favorite of mine. It rocks, it moves and…it’s back. After a lengthy absence, the award-winning musical has returned to the Chicago area, this time with a bit of a twist as, unlike past productions, the show features an all African American cast. This, opposed to the nearly all white cast complete with a black Judas that we are accustomed to seeing. And, the tremendously gifted cast works so very well in this revival piece. The change is bold and should be commended. And the execution is nearly flawless. 

With one of the greatest rock operas of all time currently finding its temporary home at Aurora’s Paramount Theatre, we know by the end of the production’s first number, “Heaven on Their Minds”, that Mykal Kilgore, who takes on the demanding role of “Judas”, is a special talent. We also get an idea within the next few numbers (“What’s the Buzz?”, “Strange Thing, Mystifying” and “Everything’s Alright”) how deep the talent pool goes in this one-of-a-kind production.  

Reliving the last days of Jesus Christ leading up to the crucifixion, the timeless musical, which premiered on Broadway on October 12th, 1971, is set to the music of Andrew Lloyd Webber with lyrics by Tim Rice, in what began as a rock opera concept album by the two in 1970. Since, it has been one of the most successful musicals of all time gathering a loyal fan-base from all over the world. In Jesus Christ Superstar, we visit Jesus, accompanied by his disciples and Mary Magdalene, as he performs miracles and brings hope to the world while claiming he is the son of God, much to the chagrin of the Pharisees and scribes who see him as a threat to their teachings – a threat they would like removed so much they ask the Romans for help.

In Paramount’s current production of Jesus Christ Superstar, a fifteen-piece orchestra paves the way for the talented performers who leave their mark in one number after another. Kilgore goes on to navigate through each song with skilled precision and sings with amazing depth. And while Kilgore impresses more and more as the show progresses by staying true (and then some) to the “Judas” that both Murray Head and Carl Anderson made famous, Felicia Boswell is also quick to excite the audience with her moving interpretation of Mary Magdalene, particularly in the popular “I Don’t Know How to Love Him”. Beautiful, graceful and vocally dynamic, Boswell brings a gentle warmth to the role, wonderfully capturing the love that Mary had for Jesus. Throughout the production, remarkable performances are abundant with Rufus Bonds Jr. taking the reins in a very commanding depiction of Pontius Pilate, so well delivering the message of his conflict to have Jesus crucified at the request of the mob that is influenced by the religious law makers or to set him free since no Roman law has been broken. Lorenzo Rush Jr. also leaves a strong presence as the baritone-wielding Caiaphas who leads the charge against Jesus, fearing that he will revolutionize Jewish law. 

Jesus of Nazareth is commendably played Evan Tyrone Martin. Martin aptly captures the virtue and charisma needed for the role of and is convincing while conveying just how tiring it can be to be the son of God. Martin’s voice is strong and he has little trouble carrying the many challenging melodies that come with playing Jesus, though the patented screams that both Ted Neeley (film version) and Ian Gillan (concept album) had incorporated into the role were absent, leaving a couple prime crescendo moments to the wayside. Still, Martin holds his own, even getting a much-deserved extended applause after his riveting performance of “Gethsemane”, a powerful number where Jesus questions why it is that he must die. 

The show’s ensemble is nothing short of amazing, the actors changing back and forth from disciples, to Pharisees to lepers to soldiers ever so efficiently. At one point, Mark J.P. Hood breaks rank from the ensemble as Simon and superbly performs one of the show’s highlight numbers “Simon Zealotes”, where he praises Jesus and urges him to build an army to fight the powers of Rome. Another crowd-pleasing moment (among the countless others) occurs when Jesus is brought forth to Herod (Avionce Hoyles) in a glittery display that dazzles in the somewhat jazzy “Herod’s Song”. Kudos to Hoyles who thrusts the role of Herod into another stratosphere.     

Paramount’s Jesus Christ Superstar is a fascinating production that entertains nonstop from its opening overture to its near-finale number “Superstar”. Featuring a wealth of acting and singing talent and a rockin’ orchestra that does the soundtrack right, this could possibly be one of the most polished, expressive and enjoyable musicals to come our way in some time.  

Superb. This beautiful production is super recommended.

Magnificently directed and choreographed by Ron Kellum with music direction by Tom Vendafreddo, Jesus Christ Superstar is being performed at Paramount Theatre through May 28th. For tickets and/or more show information click here.       

 

Published in Theatre in Review

What began as a 1970’s rock opera concept album became a global stage phenomenon that captured seven Tony Award nominations and countless awards overseas in its 40-plus years.

 

Jesus Christ Superstar, the beloved rock opera that explores the story and internal struggles of the last seven days of the greatest idol in history - Jesus - is the 2016-17 Broadway Series finale, April 19-May 28, 2017 at the Paramount Theatre, 23 E. Galena Blvd. in downtown Aurora.

 

While thousands of productions have taken the stage in 31 countries, Paramount's is surely the production the theater community in Chicago and around the country will be talking about.

 

We already know Jesus Christ Superstar features music by the most successful composer of our generation, Andrew Lloyd Webber, with indelible lyrics by Tim Rice. Hits include "Everything's Alright," "Heaven on Their Minds," "Hosanna," "I Don't Know How to Love Him" and "Superstar."

 

With nationally recognized director and producer Ron Kellum making his Paramount debut with Jesus Christ Superstar, Chicago will be introduced to a director and choreographer whose experience ranges from being an artistic director of Cirque du Soleil's KOOZA to staging major sports spectacles such as last month's 2017 NFL Pro Bowl halftime show.

 

Paramount veterans Tom Vendafreddo and Kory Danielson will collaborate as co-music directors in leading the cast and a 14-piece live rock band.

 

The A-list production design team includes Kevin Depinet, set design; Theresa Ham, costume design; Greg Hofmann, lighting design; Mike Tutaj, projection design; and Adam Rosenthal, sound design.

 

So what's the buzz? Tell me what's a-happenin'?

 

Paramount's Jesus Christ Superstar will feature an all-black cast led by Broadway and regional musical theater veteran Destan Owens as Jesus of Nazareth. Owens's Broadway credits include Tom Collins in Rent, Billy Flynn in Chicago, Adrian in Smokey Joe's Café and Hawker in The Who's Tommy 15th Anniversary Concert.

 

Paramount Theatre's Jesus Christ Superstar will be directed by (from left) Ron Kellum. The cast includes Destan Owens (Jesus), Mykal Kilgore (Judas Iscariot), Felicia Boswell (Mary Magdalene), Rufus Bonds, Jr. (Pontius Pilate), Avionce Hoyles (King Herod/Annas) and Lorenzo Rush Jr. (Caiaphas).

The ensemble features (pictured above, top, from left) Stephen "Blu" Allen, Jos N. Banks, Ciera Dawn, Gilbert Domally, Candace C. Edwards, Jared D.M. Grant, Keirsten Hodgens, (row 2) Mark J.P. Hood, Reneisha Jenkins, Micheal Lovette, Evan Tyrone Martin, Gabriel Mudd, Brian Nelson Jr., Renellè Nicole, (row 3) Jaymes Osborne, Kafi Pierre, Jon Pierce, Travis Porchia, Camille Robinson, Alexis J. Roston and Jessica Brooke Seals.

 

"This is an incredible opportunity to unite the retelling of one of the greatest stories with an iconic piece of musical theater through the voices and lens of my community," said Jesus Christ Superstar director Ron Kellum. "'Why an all-black Superstar?' 'Why not.' Our responsibility as storytellers is to find ways to represent truth in ways that translate to every audience no matter of color, creed, orientation or status. This will be a soul stirring experience!"

 

"Wait until you hear the voices singing in the grand finale of this season, presented for you in a powerful new production directed and choreographed by Ron Kellum!" said Paramount Artistic Director Jim Corti. "I dare to say it speaks to the state of the art as intriguingly as it does to the state of the union! It is a contemporary thrill ride of a production with a cast as beautiful as the vision of its director!"

 

 

Jesus Christ Superstar: Dates, times and ticket information

 

Previews start April 19. Press opening is Saturday, April 22 at 8 p.m. Performances run through May 28: Wednesday at 1:30 p.m. and 7 p.m.; Thursday at 7 p.m.; Friday at 8 p.m.; Saturday at 3 p.m. and 8 p.m.; and Sunday at 1 p.m. and 5:30 p.m. Single tickets are $44 to $59. The Paramount Theatre, 23 E. Galena Blvd. in downtown Aurora, is surrounded by affordable parking and new restaurants for pre- or post-show dining.

 

For tickets, visit ParamountAurora.com, call (630) 896-6666, or stop by the Paramount box office Monday through Saturday, 10 a.m. to 6 p.m., and two hours prior to evening performances.

 

Jesus Christ Superstar is rated PG.

 

 

About Jesus Christ Superstar

 

A rock star stands center stage, awash in lights while tens-of-thousands of adoring fans repeat every word he sings. An endless sea of bodies stands for hours shivering in the freezing temps just to say they were there when the new leader of the free world was sworn in. We love and celebrate our idols; we always have...that is, until we move on to our next idol.

 

Jesus Christ Superstar is not just the story of the last seven days of the greatest idol in history. It's the story of the close friend who tried to save him and why that friend eventually betrayed him. It's a story of love and fear, of kindness and greed, of expectations and what happens when those expectations are not met. 

 

This is an energized rock opera that delves into the internal struggles of those mortals, those humans - including Jesus himself - as they drew closer to one of the most pivotal moments in history. It's an emotionally-charged journey in which, in the end, each person discovers something about themselves when the stakes are at their highest.

 

Andrew Lloyd Webber is the most successful composer of musicals of his generation and also a breaker of molds for the type. His first collaboration with lyricist Tim Rice was Joseph and The Amazing Technicolor Dreamcoat, a musical based on the Biblical story of Joseph and his coat of many colors. The two soon hit on the idea of writing a musical based on the life of Jesus Christ from the point of view of Judas, and, like Joseph, imbued with a strong rock and roll influence. Unable to finance a stage version, Lloyd Webber and Rice did manage to record their show, and in 1970, the album Jesus Christ Superstar went on to sell millions all over the world. The musical version debuted on Broadway in 1971, earning 5 Tony nominations and a Drama Desk Award for Sondheim for "Most Promising Composer." The 1973 film version remains a 1970's rock opera cult classic.

 

Behind the scenes: Paramount's Jesus Christ Superstar

 

Ron Kellum (director) is a seasoned director and producer with experience ranging from sports entertainment to theater, film and television. He serves as a senior producer for e2k, co-director for the NFL Pro Bowl in Hawaii and co-producer for the NFL Pro Bowl United Way Thanksgiving Halftime Show. Kellum produced the Cannondale Pro Cycling Team Launch at Paramount Studios as well as several high-profile press and VIP events for Monster CES in Las Vegas. His directing and choreography credits included Iron Man 2 starring Robert Downey Jr. as well as the musicals Chicago, The Color Purple, A Chorus Line, Dreamgirls, Rent, Once on This Island, 5 Guys Named Moe, Ain't Misbehavin' and Smokey Joe's Café. He appeared on Broadway in Joseph and the Amazing Technicolor Dreamcoat and Chicago, and he toured nationally in Aida, Dreamgirls, Fosse and Chicago. Learn more at ronkellum.com.

 

Tom Vendafreddo (co-music director and conductor) is helming his 12th consecutive musical at Paramount, preceded by In the Heights, Mary Poppins, The Who's Tommy, Les Misérables (Jeff Nomination, Music Direction), Oklahoma! (Jeff Nomination, Music Direction), A Christmas Story - The Musical (Jeff Nomination, Music Direction), Hairspray - The Broadway Musical, West Side Story (Jeff Nomination, Music Direction), Mamma Mia!, Disney's The Little Mermaid and Sweeney Todd-The Demon Barber of Fleet Street. Other credits include Company and Sweet Charity (Writers Theatre); On the Town and Godspell (Marriott Lincolnshire); Road Show and Shrek: The Musical (Chicago Shakespeare Theater); The Spitfire Grill (BoHo Theatre - Jeff Nomination for Music Direction); and Pump Boys and Dinettes (Metropolis Performing Arts Centre). Regional credits include Rent (San Diego Musical Theatre), Odyssey (Old Globe Theatre), Forever Plaid (Chestnut Fine Arts) and It's a Wonderful Life: A Radio Play (Cygnet Theatre). As a cabaret artist, he has performed in Chicago, New York, San Diego and Melbourne. In 2014, he became the Founding Artistic Director of the Chicago Artists Chorale, a choral ensemble of working professionals in the Chicago theatre community. He received a Bachelor of Music in Vocal Performance and Music Education from Eastman School of Music and a Master of Fine Arts in Musical Theatre from San Diego State University. tomvendafreddo.com

 

Kory Danielson (co-music director and conductor) is coming back for his 10th consecutive musical at the Paramount, following Sweeney Todd-The Demon Barber of Fleet Street, Disney's The Little Mermaid, Mamma Mia!, West Side Story, Hairspray - The Broadway Musical, A Christmas Story - The Musical, Oklahoma!, Les Misérables and The Who's Tommy. Other Chicago credits includeAssassins, The Full Monty, Loving Repeating, Heathers, Tomorrow Morning (Kokandy Productions); Passion (2014 Jeff Award for Outstanding Music Direction), Smokey Joe's Cafe (Theo Ubique); How to Succeed in Business Without Really Trying (Porchlight Music Theatre); Hedwig, Wedding Singer (Haven Theatre); and Zanna, Don't!, Lucky Stiff, Triumph of Love (The Music Theatre Company). Danielson has also worked with Drury Lane, Broadway in Chicago, Chicago Children's Theatre, Bailiwick and Hell in a Handbag.

 

Paramount's Jesus Christ Superstar production team also includes Trent Stork, associate director; Kafi Pierre, associate choreographer; Ethan Deppe, electronic music designer; Katie Cordts, wig, hair and makeup designer; Amanda Relaford, properties designer; R&D Choreography, Vic Bayona and Rick Gilbert, violence designers; Roger Ellis, dramaturg; Hannah Wichmann, stage manager; and Nora Mally, assistant stage manager. 

 

Jesus Christ Superstar is sponsored by the Daily Herald. Paramount's 2016-17 Broadway Series is sponsored by BMO Harris Bank and The Dunham Fund. Broadway Series Orchestra Sponsor is Rush-Copley Medical Center. Broadway Series Lighting Sponsor is ComEd. Broadway Series Costume Sponsor is Gerald Kia. Jesus Christ Superstar is also sponsored by the Daily Herald.

 

More about Paramount's 2016-17 Season

 

In addition to Paramount's 2016-17 Broadway Series finale, Jesus Christ Superstar, Paramount's season also includes Home Free (Mar. 24), Madeleine Peyroux and Rickie Lee Jones (Mar. 25), Golden Dragon Acrobats (Mar. 26),

Riverdance: 20 Years(Mar. 31-Apr. 2, five shows), Piano Men: A Tribute to Elton John and Billy Joel (Jun. 10, two shows) and Barbra and Frank: The Concert That Never Was... (Jun. 11). Back in 2016-17 is the Classic Movie Monday series, presenting everyone's favorite flicks on a two-story screen for just $1. Paramount also serves the community with low-cost children's shows designed to entertain while they educate: Miss Nelson is Missing (Mar. 22) and Laura Ingalls Wilder(Mar. 23). 

 

For subscriptions, single tickets or more information, go to ParamountAurora.com, call (630) 896-6666, or stop by the Paramount Theatre, 23 E. Galena Blvd. in Aurora.

 

 

About the Paramount Theatre 

 

The Paramount Theatre (ParamountAurora.com) is the center for performing arts, entertainment and arts education in Aurora, the second largest city in Illinois. Named "One of Chicago's Top 10 Attended Theatres" by the League of Chicago Theatres, the 1,888-seat Paramount, located in downtown Aurora at 23 E. Galena Blvd., is nationally recognized for the quality and caliber of its presentations, superb acoustics and historic beauty.   

 

The Paramount opened on September 3, 1931. Designed by renowned theater architects C.W. and George L. Rapp, the theater captures a unique Venetian setting portrayed in the art deco influence of the 1930s. The first air-conditioned building outside of Chicago, the Paramount offered the public a variety of entertainment, including "talking pictures," vaudeville, concerts and circus performances for more than 40 years. 

 

In 1976, Aurora Civic Center Authority purchased the Paramount and closed the theater for restoration. The $1.5 million project restored the Paramount to its original grandeur. On April 29, 1978, the Paramount Arts Center opened, offering a variety of theatrical, musical, comedy, dance and family programming. In 2006, a 12,000-square-foot, two-story Grand Gallery lobby was added, with a new, state-of-the-art box office, café and art gallery.

 

Today, the Paramount self-produces its own Broadway Musical Series, presents an eclectic array of comedy, music, dance and family shows, and on most Mondays, screens a classic movie.

 

The Paramount Theatre is one of three live performance venues programmed and managed by the Aurora Civic Center Authority (ACCA). ACCA also oversees the Paramount's "sister" stage, the intimate, 173-seat Copley Theatre located directly across the street from the Paramount at 8 E. Galena Blvd., as well as RiverEdge Park, downtown Aurora's summer outdoor concert venue.

 

The Paramount Theatre continues to expand its artistic and institutional boundaries under the guidance of Tim Rater, President and CEO, Aurora Civic Center Authority; Jim Corti, Artistic Director, Paramount Theatre; a dedicated Board of Trustees and a devoted staff of live theater and music professionals. 

 

For tickets and information, go to ParamountAurora.com or call (630) 896-6666.

 

Published in Upcoming Theatre

Possibly one of the best productions of Tim Rice and Andrew Lloyd Webber’s “Evita” that has graced the Chicago area is currently playing through June 5th at the Marriott Theatre in Lincolnshire. Powerful, rich in musical and vocal performance and brilliantly choreographed, we are treated to a Tony caliber cast, as this production of “Evita” stirs the souls of audience members throughout in its intimate theatre-in-the-round setting. Superbly directed and choreographed by Jeff Award nominee Alex Sanchez, this electrifying production of “Evita” captivates from its opening ensemble number “Requiem” and continues to do so through the end of its second act. 

“Evita” is the story of Eva Peron who became Argentina’s First Lady in 1946 and remained so until her death in 1952. Married to Argentinian President Juan Peron, Eva was the country’s ambassador and became a true inspiration for its people. Hers is truly a story of rags to riches coming from one of the poorest areas of Junin before fleeing with a musician to Buenos Aires years later where her good looks contributed to her becoming a successful actress. In 1944 Eva Duarte met Colonel Juan Peron at a fundraising benefit for a major San Juan earthquake that claimed over 10,000 lives. From there the pair became of historical fame as together, they brought together “a new Argentina” much to the skepticism of Che, the iconic revolutionary. As the two ruled Argentina, Che is suspect that nothing has really changed for the better as promised by the power couple except for the wealth of the newly married Peron’s. 

Hannah Corneau is nothing less than triumphant as “Eva Peron”. Corneau delivers a spectacular performance that is sure to be remembered long after. Strong, passionate and eloquent, Corneau is seemingly meant to play the role of Eva. And for any production of “Evita” to succeed, there needs to be a convincing “Che”. Austin Lesch is just that and even exceeds expectations thanks to his hypnotic charisma and gifted voice. Local favorite and seasoned veteran Larry Adams also turns in a sincere performance as “Juan Peron”, Eva’s love interest and future president of Argentina. The set is impressive with rising platforms emerging from the stage when needed and props lowered from above, creating an imaginative setting of 1940s Buenos Aires while the dancing and music enthralling and the story engaging – all the components of a musical masterpiece.

While the leading actors are comprehensively engaging throughout, the ensemble is exceptional in their own right. This tightly knit collaborative is sprinkled with actors who have successfully taken on leading roles themselves at Marriott Theatre such as Brian Bohr and Jameson Cooper (this being his twentieth Marriott production).  At the same time Eliza Palasz as Peron’s mistress and David Schlumpf (Magaldi) round out the cast with solid performances in their highly relevant supporting roles.  

This tour de force production comes highly recommended. There is a reason that Andrew Lloyd Webber is the wealthiest musician in the world and “Evita” is one of his greatest works. And Marriott Theatre does this production to perfection. Produced and directed with a vision that would be sure to please Webber himself, this is a must-see show. 

“Evita” is being performed at Marriott Theatre in Lincolnshire. For more information and/or tickets visit www.marriotttheatre.com. 

 

Published in Theatre in Review

Throughout the last century, The Phantom of the Opera has taken on many forms. Originally written by Gaston Leroux and published in early 20th century France the Phantom soon found its’ way onto the silver screen right here in the U S of A with Rupert Julian’s silent film depiction. Currently however, The Phantom of the Opera is most well known for the incredibly moving musical adaptation composed primarily by Andrew Lloyd Webber and making its’ debut in 1986 London. The musical received two Laurence Olivier Awards for Best New Musical and Michael Crawford (the Phantom himself) Best Actor, paving the way for a 1988 debut on Broadway where it became an immediate classic and eventually the longest running show in Broadway history. After receiving two Tony Awards for Best Musical and Crawford again achieving Best Actor in a Musical, the Phantom of the Opera would be transcribed into thirteen different languages to be seen by over 130 million people in theaters all over the world.

Now, considering the rich history and evolution in production throughout the many tours The Phantom has undergone, I can’t help but feel my reviewing this most recent version of Lloyd Webber’s adaptation to be somewhat arbitrary. You see, until I experienced this new production by Cameron Mackintosh, my knowledge of the Phantom outside of the Las Vegas version at Venetian was limited solely to Joel Schumacher’s 2004 film depiction and because this film was written and produced by Webber himself it, of course, is a masterpiece. That being said, having only had the pleasure of witnessing only the Vegas-ized production of this beloved theatrical classic, I offer you a fresh perspective on this spectacular new production by Cameron Mackintosh.

Nostalgia filled the air that night at the Cadillac Palace Theatre as the auctioneer presented old relics of an opera house long past. Spirits rose as the enchanting melody emanated from that silly little music box where that bellhop monkey we’ve all grown to adore played the cymbal. Hearing those notes served as a firm reminder of all the gripping music that so effectually captivates the heart and delivers that sense of stirring emotion that comes with much anticipation. But as we all know, the show doesn’t truly begin until the auctioneer presents “lot 666”… as the trademark chandelier is lowered, uncovered and illuminated.

The magnificent display proves a worthy reflection of the production to follow as the stage is, to say the least, impressive. A set such as this, nearly thirty years in the making and after grossing somewhere in the neighborhood of $6 billion dollars worldwide, certainly shows its extraordinary progress in quality and an unmistakable attention to detail is visible throughout the set. The integration of tracks and mobile parts made for an engaging display. The set itself however, as impressive as it was, merely emphasized the wardrobe which brought life to each character in an undeniably authentic fashion that the audience into the romance and magic of it all. The Phantom of the Opera was brought to life in a truly striking new light and I couldn’t imagine a better venue to bare witness to such a spectacle. The Cadillac Palace offers a wide range of seating options all of which provide an excellent view of the stage and the décor, in one word, grandeur.

I soon took note that some characters added a sense of lightheartedness to this new production that caught me by surprise. Carlotta Giudicelli (performed by Trista Moldovan) and Ubaldo Piangi (Phumzile Sojola) for instance, immediately jumped out to me and the audience both, carrying an untraditionally high-spirited weightlessness that is otherwise uncharacteristic to their personalities. Even amid the wake of the ominous Phantom, Carlotta and Ubaldo’s playful touch manage to lift the audience to a blithesome state of ignorance receiving laughter and applause in nearly every appearance from Scene 1 “The Dress Rehearsal of Hannibal” to Scene 7 “Don Juan Triumphant” in the second act. There is never a dull moment while either shines on the stage.

Nevertheless, their characters serve merely as a distraction only building suspense while The Phantom (exceptionally performed by Derrick Davis) lies wait beneath the stage. Finally making his first appearance in Scene 3 “Corps de Ballet Dressing Room” while singing the masterfully conducted “Angel of Music” his voice struck me as even more than expected from the man chosen to portray The Phantom. It is only in the scenes following that The Phantom must prove his love to Christine (beautifully performed by Katie Travis) and Davis’ portrayal to the audience, for it is in these moments that one falls in love with The Phantom of the Opera. Davis taking on the roll of The Phantom and doing so as well as he has is truly an admirable accomplishment, a milestone to be proud of for the rest of ones’ life. My hat goes off to you sir, for as you led Christine deeper into the labyrinth and ever closer to The Phantoms’ lair I was no longer watching the portrayal of Derrick Davis, but The Phantom himself had entered my mind. Davis and Travis' are brilliantly paired, their chemistry a strong building block for this fervent, heartfelt and beautiful production.  

We’re all aware of The Phantom’s infamous nature behind the mask, while precarious and fraught with danger at the turn of a hat, still somehow affording a mysterious and even seductive quality that continues to draw you in. However, once unmasked, I find that Davis’ portrayal elevates to even a higher realm, capturing the hurt and passion one would so desperately feel as a disfigured “phantom” who longs to be loved so badly. 

From ballet dancer to center stage, Miss Christine Daaé carried the innocence of an angel. Travis’ portrayal of Christine is outstanding. Her voice did more than match that of The Phantom’s, and carried an unwavering familiarity that held true to the classic. Song and word alone could never do her justice and the nature of her performance can only be experienced firsthand. For it is only our beloved Christine, that can bring The Phantom to his knees and the crowd to their feet. 

 

The Phantom of the Opera is playing at Cadillac Palace through January 8th. For tickets and more information, visit www.BroadwayInChicago.com.

 

Published in Theatre in Review

 

 

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