April 15, 2015 – Chicago, IL
Some of the first rock music I remember seriously digging as a kid was the original (1972) London Cast of Jesus Christ Superstar. For rockers, it’s probably the most (only?) accessible of the Andrew Lloyd Webber musicals. One of the first LPs I ever owned.
My friends and I would play that LP over and over again, learning the words and all the parts by heart. It was music that was actually (well, almost…begrudgingly) accepted at Peace Lutheran Church in Steeleville, IL, and “I Don’t Know How To Love Him” and “Superstar” were chart hits in 1972. I still use snippets/quotes in everyday life and speech. I’ve performed various songs and roles in churches and in bands over the years. This music has been part of the musical fabric of my life.
This Spring Break, my daughter invited me to accompany her to the Theo Ubique Cabaret Theatre production in Chicago, because her boyfriend who had purchased the tickets, had to work. Lucky me!
It didn’t help that, even though with plenty of time, I misunderstood and was heading to the Theo Ubique company offices way up in the northwest suburbs, when in reality, the production was being staged at the No Exit Cafe, 6970 N. Glenwood Ave. in the bohemian theatre district.
This place was a real hole in the wall. Driving around the block for what seemed like an eternity, we finally found parking and located the place with a small “Jesus Christ Superstar” easel-board in front, no lights. Once we got inside the place, I Ioved it. You could not imagine a more intimate, in-your-face venue for this close-to-the-heart material.
Entrance to No Exit Cafe Theatre
Audience at No Exit Cafe Theatre
You enter from the street, right underneath the huge L-Train platform, at stage left (house right). It’s incredibly easy to drive right past the place! When you walk in, the bar is right there conveniently in front of you. If you purchase the full ticket and have the pre-show dinner, the cast are actually your servers! I thought this somewhat odd, in that I always feel a sort of distance between performer/artist and audience. ***I’m paying to see you. You’re a big deal. You should not be serving me. This is uncomfortable.***
Once the lights went down, and the players were back in costume/makeup, all that apprehension faded away. The suspension of disbelief in this sort of small storefront theatre is amazing. They did so much with so little! The “orchestra” (pit band) for example, consisted of only musical director/pianist Jeremy Ramey and bandmates Kevin Brown, Jacob Saleh and Justin LaForte. Being a rocker, the fact that these four players could reproduce all the power and passion of the original work, was incredible. Any of the orchestral string or horn parts, which are so ingrained in this brain, Ramey reproduced on his keyboard, while dancing (seated) and directing his cohorts all the while. This little combo really performed with heart and respect/appreciation for the source material. The rhythm section of bass, drums and guitars (both electric and acoustic) were seated practically on top of one another, with the guitarists sitting atop their amps. No other support amplification was used. The band reproduced a full rocking sound, over which you could still hear a whisper. Furthermore, there was not a microphone to be seen in the place. All the vocals were done live in the room with no reinforcement or amplification whatsoever. I’ve mixed live sound, and to pull this off and still feel the power of the music, is absolutely incredible!
The casting of this productions was particularly inspired. The roles of Jesus, (Max DeTogne),
Judas, (Donterrio Johnson), Pilate (Ryan Armstrong), a perfectly campy Herod (Tommy Bullington) and basso-profundo Caiaphas (Jonah Winston) were brought to life in enlightening new ways. The youth of the cast reflected the confusion, disillusionment and fear of the original Bible characters in ways that were equally humorous, moving and heartbreaking. For me, the unsung heroes of the cast were Sharriese Hamilton and Khaki Pixley, who played a variety of different roles, and filled the room with their harmonies and chorus vocals on classics like “Hosanna, Hey-sanna” and “Everything’s Alright.”
Ryan Armstrong as Pilate
Tommy Bullington as Herod
The story of the Passion and Crucifixion of Jesus has depicted and re-enacted in all sorts of ways over the centuries. There have been highs and lows in theatrical revivals. Countless high school and semi-professional productions have been staged in the intervening years. My Dad (Elmer) never really appreciated the tanks and fighter jets in the first major motion picture starring Te Neely. I’ve watched everything from the dry, by-the-Book (more or less) Vax Von Sydow version in “The Greatest Story Ever Told” to Mel Gibson’s gratuitously graphic “The Passion of the Christ.” This humble Chicago production managed to grip me with the misery and sacrifice of Jesus, and the pain he must have felt giving up human life and hanging with his hippie friends, in a way that no Hollywood movie could ever do.
I recommend this as a great night out for anyone who appreciates good musical theatre at a reasonable price. I hope this comes back to Chicago soon so I can take friends along!
David Joost, April 15, 2015, Chicago, IL
http://www.theo-u.com/jesus-christ-superstar
http://www.theatreinchicago.com/jesus-christ-superstar/7460/
Credits: Jesus Christ Superstar
Lyrics by Tim Rice
Music by Andrew Lloyd Webber
Directed by Fred Anzevino
Musical Direction by Jeremy Ramey
Choreography by Brenda Didier
Assistant Director Richard P Bennett
Assistant Choreographer: Cameron Turner
Production Stage Manager: Mary-Catherine Mikalayunas
Set Design: Adam Veness
Light Design: Maya Fein
Costume Design: William Morey
Projection Design: Brock Alter
Props Design: Cassy Schillo
An intimate re-imaging of the classic rock opera “Jesus Christ Superstar” acoustic and unplugged!
The critics weigh in…
“Three Stars… beautiful… go see this show!” – Chicago Tribune
“Highly Recommended… intimate, fiercely impassioned … a thrilling, altogether impressive rendering on every level.” – Sun-Times
Featuring:
Max DeTogne (Jesus)
Donterrio Johnson (Judas)
Danni Smith (Mary)
Ryan Armstrong (Pilate)
Tommy Bullington (Herod)
Jonah Winston (Caiaphas)
Michael Ferraro (Peter)
Caleb Baze (Simon)
With:
Will Wilhelm, Sharriese Hamilton, Steven Perkins, Jomar Ferreras and Khaki Pixley
March 6-May 17, 2015
Regular Run
Thursdays at 7:30pm (no show April 23)
Fridays at 8pm (no show April 24)
Saturdays at 8pm (no shows April 25, May 9)
Sundays at 7pm (no shows April 26, May 10)
DINNER AND A SHOW!
Part of the complete Theo Ubique experience includes dinner, served by the actors before the show, with dessert during intermission! Dinner reservations are accepted at the same time as you place your ticket order. For an additional $25, order the show with three-course dinner from Heartland Café in one easy step! Please note that the Heartland is not able to accept pay-at-door dinner reservations, and that drinks and gratuity are not included.
JESUS CHRIST SUPERSTAR Menu:
First Course
Vegetarian Matzah Ball soup with marble-sized dumplings.
Second Course
Cubed Lamb, baked and braised with gravy (or flavored house-made seitan) served with couscous tabbouleh and asparagus
Dessert:
Traditional Baklava served with a lemon-infused whipped cream
Acknowledgements: Thanks to Greg Kot for friendship and advice. Thanks to Terrin Krantz for finally convincing me to do this. Thanks to Margaret for being the love of my life. Thanks to Kathryn for being the music. Thanks to Daniel for being my little Jesus. Thanks be to the Lord for music!
DavidJoost Music Blog 