Anyone seeking to avoid the grotesque violence of Mel Gibson’s The Passion of the Christ but still looking for a faith-reviving experience would have done well to have seen the modernized, flashy Pittsburgh production of Jesus Christ Superstar this past week at Heinz Hall. Andrew Lloyd Webber and Tim Rice’s famous “rock opera” recounts the story of Jesus of Nazareth from the time he enters Jerusalem until his death. The timing of the production cannot be overlooked: running from April 6 to April 11, this show coincided perfectly with the week between Palm Sunday and Easter.  These days celebrate the very events depicted in Jesus Christ Superstar.

As a modern interpretation, the costuming and sets were brought from the first century into the twentieth. The Apostles donned cargo pants and jeans, biker gloves, and preppy sweaters. Mary Magdalen stood out from the group in a strappy, low-cut red dress, as did Judas in dress pants and a leather jacket. The sets were an amalgamation of ancient Roman brick and marble structures and present-day graffiti.  The scene depicting bartering in the temple is set in the stock market. One of the most interesting scenes of the production was the number “Superstar,” during which Jesus, in traditional costume, begins his attempt to carry the cross. His efforts were juxtaposed next to Judas dancing and singing with three scantily-clad backup singers around him.  

The one problem with this production of Jesus Christ Superstar was the sound. Although the orchestra was small — only three keyboards, two guitars, an electric bass, and percussion — it consistently overpowered the vocals throughout both of the acts. Without having heard the songs beforehand, it was nearly impossible to make out what the performers were saying over the driving music that helped make Andrew Lloyd Webber famous.  

Despite what its title may imply, the lead of Jesus Christ Superstar is actually Judas. Unlike Dante’s Inferno, in which he is cast into the Ninth Circle of Hell, Judas’s character in Jesus Christ Superstar is a sympathetic one and he does, in the end, go to Heaven. In the musical, Judas is cornered by the authorities, who are hoping to dispose of Jesus; it is only after they tell him that they will give him money to give to the poor of Jerusalem that he decides to go along with their plot. Lawrence Clayton, an extremely capable singer, played this unusual role of Judas. Despite his amazing voice, Clayton’s acting was somewhat lacking. While his voice portrayed deeper, conflicted emotions, his body language was generally unexpressive.  

Much of the supporting cast was also of that particular variety of Broadway singer-actors who would be more at home in a recording studio than on stage. Although the singing and dancing were superb, most of the acting left something to be desired.  

One great exception to this was Natalie Toro, who played Mary Magdalen. Like Judas, Mary Magdalen’s character takes on an interesting twist in Jesus Christ Superstar as Jesus’s romantic interest. This sultry Broadway actress also recently played Eponine in Les Misérables, a role that translated well into Mary Magdalen’s confused but loyal attitude toward Jesus with songs like the soothing lullaby “Everything’s Alright.”  

Although the traveling Broadway show has moved out of Pittsburgh, Jesus Christ Superstar the movie is available at local Blockbusters and for viewing in the Hunt Library. The original 1973 film follows a more traditional interpretation of the rock opera, whereas the modernized 2001 film more closely resembles what was performed this past week in Pittsburgh. This musical is well-worth the time and money: renowned music and a powerful story make Jesus Christ Superstar a must-see.