Displaying items by tag: Tim Rice

For more than 50 years, Tim Rice & Andrew Lloyd Webber’s powerful masterpiece, Jesus Christ Superstar, has wowed audiences with its unorthodox look at the life and persona of Jesus Christ through its soaring lyrics and driving rock score. And so, it is most appropriate that BrightSide Theatre concludes its 12^th season, entitled “A Season of Passion,” with this impassioned classic rock opera.

From the iconic solo guitar rift to the poignant close as Mary, Jesus’ mother, cradles her crucified son’s head in her lap, BrightSide’s production at North Central College’s Meiley-Swallow Hall in Naperville provides a fast-paced and thoroughly entertaining evening powered by the strong vocal performances of the main cast and an exuberant ensemble.

The show, loosely based on the Gospels, focuses on the final days of Jesus’ life leading up to his crucifixion, as seen largely through the eyes of Judas Iscariot. At the heart of the story are the personal conflicts between Jesus, his disciples, the Jewish people, and the leadership of Rome, with special attention given to Jesus’ relationships with Judas and Mary Magdalene.

Conceived at first as a groundbreaking rock double-album in the early 70s, the music and lyrics by Rice and Webber, then only 25 and 21 respectively, has held up through the years. In BrightSide’s production, artistic Director Jeffrey Cass takes a contemporary approach to the show by imagining Jesus’ story in a modern setting, challenging the audience to consider how Jesus might be received in today’s culture.

To set the tone, the cast is clad in contemporary, edgy clothes and the set is minimal, utilizing metal scaffolding to flow from one scene to another. Cass also adds nice touches such as when the ensemble takes out their cell phones to record Jesus’ response after meeting with the Jewish High Priest, Caiaphas (played by Stan Austin). And, as what would be expected with any celebrity-sighting today, they jostle one another to grab a “selfie” with the proclaimed Messiah.

The only off-note for me was the wardrobe choice for Jesus, played by BrightSide veteran Edward MacLennan. While everyone else is edgy and modern, Jesus arrives on stage with what looked like a hooded bathrobe. I would have preferred him to have a more updated, dignified vibe than he did.

That aside, MacLennan turns in a masterful performance and demonstrates his incredible vocal range in two incredibly powerful scenes. In Act One, MacLennan captures Jesus’ passion and righteous anger in “The Temple,” and then his frustration as Jesus is overwhelmed by the needs of those clamoring for healing and help. In Act Two, MacLennan is outstanding as he portrays Jesus in Gethsemane, as Jesus struggles to comprehend and accept that path before him, his anguish palpable through MacLennan’s masterful vocalizations.

Turning in an equally strong performance is Michael Davis Arnold as Judas. Making his debut at BrightSide Theatre, Arnold’s strong and expressive vocals underscore his character’s personal doubts and questions about this man Jesus and his claims to be God. Arnold ably portrays Judas’ inner struggles, which come to a crashing climax as Judas, horrified by Jesus’ harsh treatment and the knowledge that he will forever be remembered as a traitor, can no longer live with his regrets. Encouraged by the three Tormentors (wonderfully performed by Kassidy Alderman, Amber Golich, and Julia Hope Budd), Judas kills himself.

Meghan Kessel, another BrightSide veteran, shines in her role as Mary Magdalene. Her beautiful and soulful rendition of “I Don’t Know How to Love Him,” possibly the show’s most well-known signature songs, does not disappoint. And Caleb Hand’s Herod is hilarious. Flanked by his party-loving court, Herod struts and postures across the stage as he tries to coax Jesus into doing just one little miracle for him.

The show is propelled by an excellent ensemble that moves adroitly from adoring crowd to questioning disciples to a jeering mob calling for Jesus’ crucifixion, driven by the choreography of Jake Ganzer. The ensemble and cast are backed up by a talented group of musicians, under the experienced direction of Phil Videckis.

The show explodes into a glittering climax as the ensemble, led by Judas’ spirit, performs the title song, “Superstar,” questioning Jesus’ plan and purpose in coming to the world when he did before the dramatic closing as Jesus is led to the cross and put to death.

For those who grew up listening to the album as well as newcomers to this iconic rock opera, BrightSide’s entertaining rendition of Jesus Christ Superstar is a must-see production and well worth the trip to the western suburbs. You can catch Jesus Christ Superstar at North Central’s Theatre at Meiley-Swallow Hall, 31 S. Ellsworth, Naperville, now through June 23. Ticket information can be found at www.BrightSidetheatre.com or by phone at 630-447-TIXS (8497). 

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 31^st, 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.

Disney’s 1991 Award-winning musical Beauty and the Beast was an instant hit. Its songs were memorable, and its story considered one of Disney’s best. With music by Alan Menken and lyrics by Tim Rice and Howard Ashman, a live musical took the Broadway stage in 1994 that successfully ran for thirteen years (Broadway’s tenth longest run) and has since been stage in theatres all around the world. Fairy tale lovers in the Chicago area now get their chance to see this highly acclaimed fantasy-musical once again, this time at Aurora’s Paramount Theatre, in what is truly a visually stunning, heart-warming and vocally charged adaptation of the modern classic. 

A spell is cast on a handsome prince that turns him into an unsightly beast after his horrible behavior and selfish ways have gone too far. He now lives in a dark mansion deep in the woods along with a once human staff that are slowly turning into household items - a candlestick, a clock, a dresser and a teapot. The more time that passes the closer each is to losing their human likeness altogether - forever. Only one thing can save them – should the beast fall in love before the last pedal of a magic rose falls, the spell would be reversed, and all would be come human again. But…the love must be returned to him. For a hot-tempered beast that lives hidden in the middle of a vast forest, this is much easier said than done.

 
Belle (Beth Stafford Laird) is a beautiful village girl who is courted by town hero Gaston (Emmett O’Hanlon) but she repeatedly fends off the egotistical hunter’s aggressive advances. But Gaston doesn’t give up so easily and he, along with his comical sidekick Lefou (Nick Druzbanski) are always scheming their next move. Belle’s kind-hearted father Maurice (Ron E. Rains) is an inventor whose keen ideas are often looked at as kooky by the fellow villagers. He loves his daughter more than anything but stumbles into trouble when he gets lost in the woods and Belle goes on the daunting task of searching for him on her own. After a series of happenings have the two crossing paths deep within the trees, Belle then Beast’s last chance for love before time runs out.

Paul-Jordan Jansen, who recently left a strong impression on theatre goers for his strong performance in Drury Lane’s ‘And Then There Were None’ is magnificent as Beast. His deep, strong speaking voice and precise annunciation of every syllable lends to his regal background, so we never forget who he was despite his beastly appearance. Jansen effectively delivers rage as well as he does tenderheartedness, making Beast a well-rounded counterpart to Belle. And Beth Stafford Laird is well cast as the musical’s leading lady, charming, warm and adventurous when need be, she so effortlessly captures the essence of our fairy tale Belle. Both Jansen and Laird complete the package also showing off their powerhouse vocals in many numbers throughout the show.

 
Though our leading characters are nearly flawless and are simply a pleasure to watch from scene to scene, the musical gets a lift from a very solid supporting cast. Emmett O’Hanlon’s rich baritone gives us a showstopping moment or two while he is also able to pull of the needed over the top cockiness that makes his role so humorous (Trevor Vanderzee will be playing the role of Gaston January 8th through 19th). Druzbanski as Lefou is just plain funny nearly every time he takes the stage while other notable performances would have to include Jackson Evans as Lumiere (the candlestick) whose comedic timing is just superb, Ron E. Rains as Maurice, the highly-imaginative inventor, and Becca McCoy who delivers big as Madame de la Grande Bouche, the former singing star who is slowly becoming a dresser thanks to the spell cast upon them. So many great performances grace the stage in this all-out production that includes an impressive ever-changing set, astonishing costumes and several memorable numbers including the instant classic “Be Our Guest”.

Directed and co-choreographed by Amber Mak, ‘Disney’s Beauty and the Beast’ is a colorful, exciting and thoroughly engaging adventure filled with fun surprises and outstanding vocal performances.

Recommended for theatre goers of all ages.

‘Disney’s Beauty and the Beast’ is being performed at Paramount Theatre in Aurora through January 19th. For more information visit www.paramountaurora.com.  

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.

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.       

I have to admit Aladdin is one of my all-time favorite Disney films so I was very optimistic upon entering Cadillac Palace to see the stage version. Turned into a live musical in 2011, Disney’s Aladdin has landed in Chicago for a five-month run with over three million people having already experienced the production worldwide. My hopes were high. I wanted so much to enjoy it. I entered the musical knowing the characters and creative team had a lot to deliver in order to please me - and deliver they did! Bringing to life the classic tale of Aladdin, Princess Jasmine, Genie and the villainous Jafar, I am happy to say the stage adaptation of the popular musical is a full-on magical adventure that exceeds expectations.

Adam Jacobs in the lead role of Aladdin has a wonderful voice, excellent dance skills and a charming, bright white smile that reaches all the way to the audience members in the back balcony much to their delight. Jacobs has some real star quality developing, which is a pleasure to see. Adam Jacobs as the poor thief trying to win Princess Jasmine’s heart with three wishes from a genie, really resembles a young Matt Dillon for those who remember the handsome, spirited hustler in the popular film "The Flamingo Kid."

Perfectly paired with Jacobs, Isabelle McCalla plays Princess Jasmine with a sassy, feminist air that was both endearing and inspiring to young girls without seeming cloying or coy. McCalla also has a lovely, yet strong stage presence and a wonderful singing voice. Yet the key to a successful production of Aladdin depends on the strength of the wish-giving imp and in this case Anthony Murphy nails the role of Genie. Murphy is deliciously saucy and upbeat in his interpretation of Genie and has great physical comedy timing and brings with him some impressive dance instincts. 

The fabulous tunes of Aladdin penned by Alan Menken, Howard Ashman and Tim Rice are brought to life by this talented ensemble directed by Devanand Janki with an abundance of energy and infectious joy! 

The magic flying carpet scene is every bit as enchanting as in the film when Aladdin posing as a prince offers to free Jasmine from her castle tower where she has been isolated from seeing the daily life of the real world. Aladdin finally shows her “A Whole NEW World" with a stunning backdrop of night stars, which create an effective and truly romantic flying carpet special effect that makes both adult couples and children alike say, “Wow, that's beautiful!" 

I loved the way the book has been altered to include the idea that an arranged marriage is politically incorrect even if it is an arranged marriage to a prince. This is a very serious problem in other countries and I was very pleased that the writers made it clear to the young women watching the show that in the end even Jasmines' father, The King, was forced to change the law in order to make sure his daughter was married to someone she loved, regardless of his social standing - that it was her choice, not his. 

Brian Sidney Bembridge (sets), Jesse Klug (lighting) and Debbie Baer (costumes) each deserve their own round of applause for their amazing accomplishment in creating the truly golden treasure room and flying carpet effects along with the colorful, rich designs that captured and dazzled the eye in every scene.

I highly recommend this show for adults who’d like to go on a romantic date as it dreamy and fun while reminding us of the innocence of love. Aladdin is, of course, also a great production for young ones to see because, unlike in some children's theater, the characters are fully rounded and the entire spirited cast really delivers on their opening number, “Arabian Nights”, successfully projecting the feelings associated with the magic and destiny of Love that is caused by such wonder and delight! 

Disney’s Aladdin is running at Cadillac Palace through September 10th. For tickets and show information visit www.BroadwayInChicago.com.