Music Takes Center Stage At Munster's 'Superstar'

Onstage now in Munster, Indiana's Theatre At The Center is a remarkable and fascinating (and seemingly rare) production of one of the first masterpieces of what is now known as the "rock musical," Andrew Lloyd Webber and Tim Rice's youthful flash of brilliance, "Jesus Christ Superstar." The musical elements of this production are pretty astounding, and the overall feel of the show is quite definitely theatrical, as opposed to the rock concert vibe one could imagine. (It's not even loud.) But hit song after hit song just keeps coming, in a tour de force of writing that is still impressive, and this production puts each song over with an honesty and care to the material that is usually smack on the money and has always been lovingly conceived.

Indeed, since this work is now forty years old (its mainstream success long since assured from the continued popularity of its iconic original "concept" studio album and two video treatments), it's quite refreshing and amazing to see a group of young musical theater experts mount this show for an audience which, for the most part, is the very demographic which made it successful and iconoclastic when it was new. In this age of "Spring Awakening" and "American Idiot," this show is being approached with all the reverence (no pun intended) that would ordinarily be afforded to "The King And I" or "Fiddler On The Roof."

And you know what? The grandfather of the theologically shocking stage spectacle, tame now, still holds up. It's moving, meaningful and thrillingly theatrical. And it's beautifully sung and played-I heard pitches I've never been sure of before. Kudos to musical director William A. Underwood, to his orchestra (especially guitarist Dave Saenger) and to the entire cast. The note-complete "Overture," and high tenor wail after high tenor wail, were perfectly placed during last Sunday night's opening performance. 

At the center of this production (directed and choreographed by Stacey Flaster with the assurance that both God and Lord Lloyd Webber had her back) is the Jesus of Max Quinlan, who at the young age of 24 has a Jeff Award and work in all of Chicago's major Equity musical houses under his belt. Indeed, for his work as Fabrizio in "The Light In The Piazza" last year, he defeated Levi Kries of "Million Dollar Quartet" for the Jeff. And Kreis, as you may know, just won the Tony Award in New York for doing MDQ there. So much for bragging rights!

Quinlan sings like a god, and has the calm and handsome assurance (and occasionally the understandable boyish cockiness) of a man who knows more than everybody else does what the "buzz" is. I only have to say that his take on the legendary song "Gethsemane" is simply not to be missed. I've heard it a million times, and Quinlan's performance of it took my breath away. Repeatedly. He looks and sounds like an angel. You simply HAVE to hear and see him sing this! 

However, Joe Tokarz is on hand as Jesus' nemesis, the misunderstood and misunderstanding Judas, and he has his own vocal adrenaline going. Setting the tone of the production with "Heaven On Their Minds," Tokarz has technique to spare and acting clarity that is exemplary. A bigger man than the other apostles onstage, this Judas never quite fits in, and can't quite make himself heard above the adulation the crowd feels for this natural leader, this Jesus of Nazareth who has taken Jerusalem by storm by revealing only a part of his natural leadership skills. 

Munster favorite Larry Adams produced perhaps the evening's most legitimate arena rock vocal moment at the end of his noble and conflicted turn as Pontius Pilate. As Mary Magdalene, Audrey Billings sang three hit songs with understated loveliness and flower child looks. And the priests sang well, though they were saddled with some poor amplification in the early going and with costumes and makeup which, apparently in an attempt to make them figures of ridicule, merely seemed peculiar and distracting. 

But I did like the circus motif utilized for King Herod's one appearance (Stephen M. Genovese sang the vaudeville-type number). And I appreciated the twentieth century pop culture icons who appeared during the big "Superstar" number, though a "wow" factor seemed to be missing at that point (a minor quibble, really). 

The massive translucent walls in the set by Christopher Ash were used to great effect by lighting designer Tim Fandrei to depict scenes that clarified the onstage action, and the modern-dress "peasant wear" of Jesus and his followers (by Nikki Delhomme) was effective and universal and fun. 

Those who are religious (knowing full well this is not a church service) and those who are not religious (knowing that folks around them have a special relationship with the plot) will both enjoy this production. The beautiful ending will leave both camps satisfied, I expect. And the music will simply transport you out of your skin with its inventiveness, its beauty, its clarity and its genius. It is the score that made this show a success back in the day, and the score that will keep it coming back. Now that it is being accorded the same attention that other popular musical scores have always received, it can be enjoyed in many ways, and Munster's way is a winning one. "Superstar" is a musical masterpiece, and this production shows exactly why. 

Max Quinlan stars as Jesus in "Jesus Christ Superstar" at Theatre at the Center, 1040 Ridge Road, Munster, Indiana, running through August 8 with a press opening of July 11. To purchase individual or group tickets call the Box Office at 219.836.3255 or Tickets.com at 800.511.1552.  For more information on Theater At The Center, visit www.TheatreatTheCenter.com.  

Photo Credit: Michael Brosilow  

Photos: Max Quinlan and Joe Tokarz; Larry Adams, Max Quinlan and Jeff Diebold (rear); Max Quinlan and the Apostles

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