Iconic ‘Jesus Christ Superstar’ comes to San Jose
“Jesus Christ Superstar” was a phenomenon in the early ’70s.
It appeared first in 1970 as a rock opera concept album, featuring music by Andrew Lloyd Webber and lyrics by Tim Rice, and went on to sell millions of copies.
Then the musical opened on Broadway in 1971, following up a year later in London, where it stayed for eight years and, for a time, reportedly held the distinction of being the longest-running musical in the U.K.
Keeping with the trend, the film version, released in 1973, was a hit at the box office and netted an Academy Award nomination for its song score, plus six Golden Globe nominations.
All these years later, “Jesus Christ Superstar” still continues to fascinate, as a North America tour marking the 50th anniversary of the original concept album (known as the “Brown Album”) lands at San Jose’s Center for the Performing Arts Tuesday through Oct. 27.
I recently spoke with touring production director Timothy Sheader about the iconic musical.
QMany people are already familiar with “Jesus Christ Superstar,” from watching the play, movie or both. But what can audiences expect from this particular production?
AThe production is a fusion of musical theater storytelling, telling the story of the Passion of Christ, mixed with a modern dance concert and, most importantly, the feeling of being at a live music gig.
QAWhat was the main inspiration in creating this new production?
It was the original “Brown Album,” which is 50 years old next year. Listening to the album reminded me that the piece did not begin as classical musical theater. It began as a concept album. It began as a group of musicians in a room making music. And there was no distinction between the guitarist and the vocalist. They were just a band.
And it felt real and exciting and modern and edgy and not at all music theater. And the story revealed itself in this interesting, subliminal way. I thought I want to tap into that and I want audiences to
have an experience of that original album.
So, really, the staging is just a response from our collective imagination — me and my team’s — to that album. And we’ve kind of put that onstage.
QSounds like it is going to differ quite a bit from other productions.
AIt’s nothing like any other production — I think. I have to subtext that with “I think,” because I haven’t seen all those productions. But it’s not the big staging that people might expect. So, definitely come with an open mind and see something different.
We’ve worked really hard to give people something different, because I’m not in the game of just repeating what’s gone before.
QGiven the iconic history of “Jesus Christ Superstar,” was it daunting to take on this project?
ANot really. When I say not really, I don’t mean that flippantly. I mean that no more than anything else. I pick really carefully the projects I want to work on. So, yes, like many projects that I do that have such a successful history, I’m always daunted. Can I live up to this material? Have I got something interesting to say about this material that people might want to listen to?
I am always nervous. But that’s what keeps the work alive and fresh. I’ve been doing this for 20 years now and it doesn’t get any easier at all. I’m always terrified — but in a good way. I channel that energy in a good way into the work.
QDoes “Jesus Christ Superstar” still have widespread appeal in 2019?
AI think this is the rare piece of music that can genuinely appeal to all generations. Because I think so many people grew up with that “Brown Album.” They either heard their parents playing it, or it was released when they were teenagers and they learned to play guitar to it or they sang along to it in their bedrooms while it was on their turntables. Then, as they’ve grown older, they played it for their children.
Certainly, this production attempts to make the music feel contemporary. And I say “feel contemporary,” not changing the orchestration so that it is contemporary, because I thought that ’70s poprock thing was timeless and created by such exquisite musicians.
So, I think (the production) could appeal to the younger and older audiences alike. And you don’t need to know the show. You could (just) turn up and enjoy this music, I think, as much as if you’ve listened to this album your entire life.