Jesus Celebrity

A La Jolla Playhouse presentation in the Stratford Shakespeare Festival output of a rock opera by 50 percent functions, with lyrics by Tim Grain and music by Andrew Lloyd Webber. Directed by Des McAnuff. Choreography, Lisa Shriver. Musical director, Ron Fox. Sets, Robert Brill costumes, Paul Tazewell lighting, Howell Binkley video, Sean Nieuwenhuis appear, Jim Neil fight director, Daniel Levinson, stunt coordinator, Simon Fon. Opened up up November. 30, 2011. Examined 12 ,. 3. Runs through 12 ,. 31. Running time: 110 MIN.Jesus - Paul Nolan Judas Iscariot - Josh Youthful Mary Magdalene - Chilina Kennedy Pontius Pilate - Jeremy Kushnier King Herod Bruce Dow Caiaphas - Marcus Nance Annas - Aaron Walpole With: Matt Alfano, Mary Antonini, Karen Burthwright, Jacqueline Burtney, Mark Cassius, Ryan Gifford, Kaylee Harwood, Mike Nadajewski, Melissa O'Neil, Laurin Padolina, Stephen Patterson, Katrina Reynolds, Jennifer Driver-Shaw, Matthew Rossoff, Jaz Sealey, Jason Sermonia, Julius Sermonia, Lee Siegel, Jonathan Winsby, Sandy Winsby.In Des McAnuff's Broadway-bound revival of "Jesus Celebrity," costume designer Paul Tazewell dresses the title character in solid white-colored, as if offering a clear canvas that the planet is requested to fresh fresh paint for an additional 2,000 many beyond. The effectiveness in the contractor from Nazareth for everybody everyone's choose reasons might be the theme here, surely most likely probably the most thoughtful and scintillating reading through through in the Webber/Grain rock opera since its 1969 recording. Beneath the overture, turbanned, black-covered riot police spin warrior warrior spears to whack raggedy proles. Even though this production was produced in Stratford, Ontario extended just before the Wall Street protests, an inevitable sense of "Occupy Judea" produces immediacy, increased having a news ticker orienting us to a while and put. Pharisees transporting pepper spray wouldn't be an unpredicted sight. Creating the nation's energy vacuum makes way (literally, running Robert Brill's glittering structure from the set) for the reaction to a prayer. Not the normal one-dimensional saintly/pallid Jesus, Paul Nolan offers intriguing levels of engagement and detachment, always departing us once removed understanding him entirely. Because, he intentionally raises the remote celebs within our age: James Dean John Lennon Bowie and Jagger - all people enigmas which we are in a position to eagerly project whatever we imagined. It's not different in Jerusalem, circa 33 A.D. An oppressed populace dances its requirement of Deliverer in Lisa Shriver's exciting choreography. The apostles sing their desiring a fighting commander. Temple elders Annas (weaselly Aaron Walpole) and Caiaphas (menacing basso Marcus Nance) must manufacture a scapegoat to keep Rome using their hair, while Governor Pilate (a subtly nuanced Jeremy Kushnier) is impacted by existential doubt. Jesus becomes everybody's obscure object of desire, just like he remains today. Even King Herod (Bruce Dow), typically dismissable just like a preening, queeny jester ("Walk across my pool"), is granted gravitas. His vaudevilley Charleston is certainly an amusingly rousing Vegas lounge act, but because this potentate is anxiously seeking salvation, Dow is crushed to know "You aren't the MasterOrYou are a fraud!" An ordinarily contemptuous snap is invested with genuine terror. Still more personal demands they fit by tormented Judas (Josh Youthful) and reviled Mary Magdalene (Chilina Kennedy). McAnuff produces an affectional triangular in which the Masters mixed signals alternately seduce and perturb his dearest disciples, similar for the spiritual crises known to by sages from St. Augustine to Thomas Merton. The helmer's notion would actually are better if Jesus saved both at equal arm's length. By separating Judas yet granting Mary unfettered utilization of Jesus' attention, McAnuff stacks when and decreases around the tension. Kennedy lacks vulnerability anyway, and her "I am Unsure The best way to Love Him" leads to just like a mere announcement, no anguished question. It's a rare directorial misstep in several occurrences marked by equal measures of theatricality and probing intelligence. Concept involves full fruition inside the title number, usually carelessly tossed in should be, it's good and B, it's round the album. Here, McAnuff reincarnates Judas just like a spangled Jimmy Swaggart, strutting atop a ramp jutting out inside the auditorium. Since the quietly dignified Jesus begins to speak at his side, the sizzling Youthful revs within the evangelical fervor - and out of the blue we're not able to hear a factor in the Word the gospel becomes an afterthought. This dramatization of man's inhumanity to Jesus' message becomes an unforgettable staging coup. "Celebrity" can be a triumph of interpretation surprisingly impressive in comparison to helmer's fantastically multicultural reimagining of "The Wiz" in 2006, which sadly never handled to obtain from La Jolla. Mischievous original helmer Tom O'Horgan introduced, "If only to shake Them up," but McAnuff desires to make sure they are think and feel. What opened up in Gotham in 1971 just like a cheesy mess will shortly return just like a smart and moving spectacle. Contact the number newsroom at news@variety.com