BWW Reviews: Theo Ubique's JESUS CHRIST SUPERSTAR

Theo Ubique offers up an intimate re-telling of the Webber/Rice rock opera JESUS CHRIST SUPERSTAR that offers up new insights, but you just might find yourself questioning some of the production choices.

Now extended through May 17, the show, directed by Fred Anzevino, features all of the hallmarks that we have come to expect from a Theo Ubique prodcution: some gorgeous singing (both solo, duet and ensemble) and a heightened sense of intimacy.

The plot, for those who have never seen it, focuses as much on retelling the familiar Biblical tale of Jesus Christ (played here by the sweet-voiced Max DeTogne) as well as humanizing his betrayer, Judas (Donterrio Johnson). DeTongne's portrayal is in stark contrast to the hard-rock performances that other people have delivered over the years and one gets the sense that his Christ is a gentle, misunderstood soul.

Johnson, on the other hand, portrays Judas with fierce and fiery determination as his character slowly grapples with losing respect for his idol.

As Mary Magdalene, Danni Smith struggles with her faith in Christ's beliefs and her budding sexual attraction to him. Her performance of the iconic song "I Don't Know How to Love Him" perfectly captures the inner monologue her character is having.

Interestingly enough, the intimate setting also seemed to bring out the inherent love triangle between Mary, Judas and Jesus. As portrayed her, Judas appears to be conflicted over her prior profession, but also jealous of the relationship she is building with Jesus.

There are other production choices that leave me lacking, however. Adam Veness' industrial set, with steel beams and corrigate metal, harken more to "Sweeny Todd" than a production of this show. A decision by Anzevino to have Judas begin the show with a gun in the waistband of his pants is also confusing.

It is one thing to set the events in a modern setting. This has certainly been done before in the most recent revival of the show (a"RENT-ification", as it were). One of my favorite productions of all time set the opening number "Heaven on Their Minds" in New York's St. Patrick cathedral and featured a modern Judas in ACT UP attire being refused the Eucharist.

Given the choice of set and gun, I was expecting some sort of commentary on urban violence, but the show offers none. The choices appear either random or, in Judas' case, due to the limitations of the space (hard to have a guy hanging himself when the ceiling height won't really accomodate it).

Still, it is exactly those limitations that Anzevino has used in past productions to highlight some new-found clarity.

I also had issue withWilliam Morey's costume choices --a blend of period pieces and well as those that reference the '60s and '70s. With apostles donning hippy clothes, Jesus takes on a Charles Manson-kind of quality; his disciples a cult ready to do his bidding. If that was what Anzevino was going for, he succeeded. I've never quite been disturbed by the piece in a way I was here.

Fans of the score will love this production. The acting and singing is top notch. Hoewever, you may find yourself questioning some of the prodcution choices as I did.

"Jesus Christ Superstar" has been extended through May 17 at Theo Ubique Cabaret Theater, 6970 N. Glenwood. Tickets, $39-$43. Call 800.595.4849. www.theo-u.org

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