Nocturne Theatre Company’s “Jesus Christ Superstar” a Mesmerizing, Dystopian and Timely Production
The mesmerizing Diego Huerta-Gutierrez stars in The Nocturne Theatre’s production of Jesus Christ Superstar through April 26th.
If you could scroll through the album collections of people of “a certain age,” somewhere between their scratched-up copy of Goodbye Yellow Brick Road, a few albums down from Three Dog Night, and Aqualung, and just past their copy of Dark Side of the Moon, you would almost certainly find their copy of the 1970 double gatefold brown and gold rock opera, Jesus Christ Superstar. Despite what’s in any given record collection, you will always find Superstar filed under “cool.” What made it cool back in the 1970’s, was that Ian Gillan of Deep Purple fame, was singing his blessed lungs out in the role of Christ. As the show progressed and started taking on new staged forms, keeping Yvonne Elliman, and introducing Ben Vereen as Judas, Jesus Christ Superstar just kept getting cooler.
From its first staged inception on Broadway in 1971, to the classic film version, three Broadway revivals, countless road shows, an ill-fated concert tour in 2014 starring John Lydon from the Sex Pistols, the spectacular John Legend NBC Live! television version, and even a huge nod lately at the Hollywood Bowl, Jesus Christ Superstar isn’t going anywhere. How tepid or hot you are toward the rock opera depends on musical taste, religious interpretation, and whether you like opera to begin with, rock or otherwise. Regardless of personal taste, it could be argued that this little opus will be produced and performed in theatrical perpetuity. The reasons this show has survived over a half a century, and will continue to do so, is largely due to Sir Andrew Lloyd Webber’s impeccable and unrelentingly hooky score. Another secret sauce is that Superstar, written without a resurrection (its biggest controversy over the years), is still completely open to re-interpretation; no two productions of Superstar are ever the same.
Another reason remains on display at the Nocturne Theater in Glendale through April 26th. Originally intended more as a rock concert than a theatrical event, Jesus Christ Superstar is meant to capture its audience and ensnare them without letting go for the near three-hour tour of the new testament story. Under the direction of Justin Meyer, the Nocturne production is timely, dark and dystopian, leaving their references to recent disturbing world events, appropriately shrouded in ambiguity. It is also quite intimate, but the orchestra is just loud enough, and the chorus voices are full enough to keep the evening living large. Superstar seems right at home in their delicious space, because who doesn't love theatre in the round? Meyer and Co. give this epic, behemoth musical everything it needs to thrive, boasting a terrific ensemble cast, colorful costumes (Tanya Cyr), clever choreography (Melissa Meyer), powerful lighting (Justin Meyer), and above all, the wonderfully dead-on, aforementioned live orchestra. Like their production of Dracula the Musical in 2025, Nocturne's use of live sound will always make them rise above, but ultimately, a super production of Superstar relies squarely on that amazing score and whether the cast can rise to the occasion.
Enter Andy Meyers (Judas), Mad Maxed to the hilt, and with all the needed exposition wrapped up in one hell of an opener, Heaven on their Minds. It’s all about to fall apart and through genuine concern, he stands alone as a sort of co-director of the story, and for the majority of the first act, his message simply isn’t getting through to either the supporting cast of apostles and supporters, or to Christ himself, played by Diego Huerta-Gutierrez. Nevertheless, team-Christ and Chess MacElvaine (Mary Magdalene) manage to keep Judas at bay through the lovely Everything’s Alright. As the story unfolds and we are introduced to the show’s litany of “bad guys,” we are treated to the captivating Andrew Diego (Caiaphas) the Pharasees and Priests, and to Troy Dailey (Pontius Pilate), who delivers a mesmerizing rendition of Pilot’s Dream. The energetic ensemble cast keeps the production energy rising, with the vocally joyful Simon Zealotes more than pulling its weight. From there, the world of this Superstar just keeps getting darker, and with numbers such as The Temple, more disturbingly timely, as Christ is sold-out, denied, and betrayed by, what seems the whole world.
The powerful dance ensemble in The Nocturne Theatre Company’s “Jesus Christ Superstar” playing through April 26th.
Thanks to Sir Andrew’s masterful, King Herod’s Song, the comic relief of Nathanael O’Neal (Herod) breaks the darkness with comic flash and a fine belt, before Christ is to be returned to Pilot and his fate sealed. Meyer’s Judas is fully fleshed out through some powerful acting, despite some vocal struggles with the very challenging score. Chess MacElvaine and Christopher J. Thume soar with Could We Start Again, Please? (a number which was added to the score by Webber for the film version and eventually added to the score for future productions afterward). I only wish that MacElvaine, with her sweet and powerful voice was given the spotlight and star turn that I Don’t Know How to Love Him demands. With added choreography, they seem to be moved to the side for half the number and at least for this theatre goer, the connection was lost. Troy Dailey’s return with Trial Before Pilot is once again, a showstopper, both vocally and emotionally. The captivating last half hour keeps the energy driving, with a mesmerizing Danny Castro (Dancing Devil), flashy lit crucifix selfie-sticks, and an explosive final number that brings the joy necessary to allow the audience to leave humming. As previously stated however, no two productions of Jesus Christ Superstar are ever alike and this production’s ace lies squarely in its casting of Huerta-Gutierrez, whose Christ is a revelation. His portrayal as soft as it is dagger sharp. Not one moment or note is lost within his performance and his Gethsemane, arguably the score’s most difficult number, is pure, electric emotional bliss. It also needs to be said that this production’s last moment will leave you breathless and reaching for tissues. How perfect that Director Justin Meyer weaves and dives through all of the necessary bombastic chaos, but brings his Jesus Christ Superstar home with a whisper. Much like The Sixth Sense, don’t let anyone give away the last moment of this fine production.
Despite the confusing use of Pink Floyd’s The Wall at pre-show and a superfluous green puppet “commentator” in the booth, all was easy to forgive, because ultimately, The Nocturne Theatre’s production of Jesus Christ Superstar, with its nightmarish vision, remains draped in hope, peace, equality and love. It is riveting, and leaves its audience not only fulfilled, but thinking as well. You have two weekends left to buy your tickets.
Jesus Christ Superstar performing at The Nocturne Theatre, 324 North Orange Street, Glendale, CA. through April 26th. For tickets visit: The Nocturne Theatre Company.
Also featuring: Renee Cohen (Annas), AURIAA (Simon Zealotes), Zachary Balagot (Priest 3/Ensemble), Tommi Jo Mongold (Horseman/Ensemble, Sam Tilley (Dance Captain/Dancer/Ensemble), Robbie Mero Canevari (Dancer/Ensemble), Patrick Fitzsimmons (Dancer/Ensemble), Juliet Johnson (Dancer/Ensemble), Trinity Pedagat (Dancer/Ensemble), Scarlett “Scoo” Morrow & Adam Aviles (Child).
The Jesus Christ Superstar Band: Chris Wade (also Musical Director), Lowell Wolfe, Audrey Bean, and Eddy Barco.