Review: JESUS CHRIST SUPERSTAR at Cultural Arts Playhouse-SYOSSET
Duality makes the cross in this production of the Biblical tragedy
Playing on the main stage at Cultural Arts Playhouse in Syosset this spring is the operatic, rock ‘n rock “Jesus Christ Superstar.”
The Andrew Lloyd Webber classic mixes thundering rock solos, psychedelic vibes, and dramatic tableaux for the retelling of the Betrayal, Last Supper, and Crucifixion of Jesus Christ.
Director Bruce Grossman's energetic direction, bordering on fanaticism, was sustained throughout both acts by the ardent devotees of Christ in the cast and spectacular execution by the band led by conductor Rich Giordano with Daniel Halbstein on the keyboard, Joey Sheehan on guitar, Shiori Chazono on bass, and Jared Grossman on drums.
Giordano, who served as musical director alongside Shiloh Bennett made the strategic decision to split the pit on the stage which resulted in tremendous gains as the pitches and swelling of the melodies filled the theater space.
Choreographer Natalie Baquet’s quartet of dancers: Summer Cohen, Maria Cutaia, Nicole Gonzalez, and Melanie Hendersen were a beautiful, prescient, and graceful Greek chorus. Particularly in the scene where Jesus receives the 39 lashes from the Roman soldiers, the precision and delight of the blows were underscored by an almost robotic cruelty from the dancers as they performed a flawless routine.
Anthony Orellana as Jesus Christ was an emblem of stoical poise in the lightness and ever-glowing smile. In “Hosanna” Orellana’s bellowing voice commands the ambiance of the whole cast to the mystery and delight of Christ.
Sean Ryan as Judas Iscariot portrayed the ultimate traitor as sympathetic and torn. With his introduction as the first song, Ryan’s “Heaven on Their Minds,” was sung with the vigor of a spy caper and a confessional style of phrasing.
Faith Bentivegna as Mary Magdalane was the tragic, quasi-love interest whose quiet touches and gentle demeanor were punished almost as callously as Christ’s softness. In perhaps the most famous song of the production, “I Don’t Know How to Love Him,” Bentivegna’s soaring voice wished for deliverance.
Stephen Anastasia as Pontious Pilate had great depth of character and an all-consuming sense of hierarchy whose facial expressions told entire stories within that of Christ. In “Pilate and Christ,” Anastasia’s boot stomping voice with a dash of mad scientist was cat-like in its torment.
Joe Thomas as the flashy and flamboyant King Herod had a delightful dance sequence and a James Brown approach to peacockery.
Andrew Koehler as Caiaphas, Spencer DeStefano as Annas, and Brendan Noble as the third priest were a triarchy of doom decked out like General Zod and associates who built off each other’s menacing auras.
Michael Garcia as Simon Zealotes was the perfect balance for the pacifist Jesus. Garcia skillfully represented Simon with the urging of a friend seeing the end of the tunnel. In “Simon Zealotes/Poor Jesus,” Garcia’s connection to the “hippie youth” nature of the song was evident in his cutting consonants and recall of the troops behind Christ.
Vinny Mara as Peter encapsulated the shock and immediate regret of the thrice denial of Christ with great fervor and a tragic internal breakdown.
Sarah Klaum as the Maid by the Fire had excellent chemistry with Mara’s Peter and was regal in her tribunal and rebuke.
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