Jesus Christ Superstar

       At one time a broadway veteran's performance as Jesus makes Superstar at the Jackie Gleason Theater more powerful and poignant.With Gale Edwards' staging of the 2000 Superstar Broadway revival as a template, director Kevin Moriarty juxtaposes contemporary visuals and energy onto the familiar Biblical story of farewell, betrayal, torture and crucifixion. When the national tour of Jesus Christ Superstar rolled into town in January 2003, its star needed more than a prayer to fly. The time-tested Andrew Lloyd Webber and Tim Rice musical still has a problematic book that shows a lack of imagination. Yet at a performance level, the production brought me happy chills.

       The principals for this tour are outstanding: Lawrence Clayton as an R&B hot-throb Judas singing a mocking version of "Superstar"; Eric Kunze as pure rocker Jesus; and Natalie Toro, who was in the earlier production, as the beautiful and touching Mary Magdalene, who confesses "I Don't Know How to Love Him." Terrific singer Raymond Patterson played Pilate as a black Mussolini, his sternness matching his fascist costumes and his voice terrifying in his scene with Christ. Thirty-three years after its Broadway opening, the Tim Rice-Andrew Lloyd Webber musical has an enduring relevance and emotional pull. We're talking about the greatest drama of all time -- the last week of Jesus Christ's life -- set to classic rock music.

       The goal of actor Eric Kunze, in the title role, is to humanize Jesus. Kunze's singing is wonderfully magnetic. The lighting is powerful, too, especially the glow that surrounds Jesus. It and the performers provide all the stage magic this show needs. On opening night, understudy Todd Fournier provided the most interesting characterization as Judas, the deeply conflicted betrayer of Christ. Natalie Toro also is an incredible performer as Mary Magdalene. The show's menacing high priests are out to destroy 'Jesus mania.' It was gone in Pilate's vicious numbers "Pilate and Christ" and "Trial By Pilate".

       Amid the darkness, the glitzy, vaudeville-style "King Herod's Song" provides some fun relief. Daniel Guzman wears a duncelike crown as Herod during his ridiculous song and dance. Darlesia Cearcy, Alaine Kashian and Jeanine Meyers offer the evening's greatest dancing in a surprising offering of "Superstar". While tax-cutting may be kinder and gentler for wealthy people today, and while budget-cutting is promoted as beneficial to future generations, there’s nothing kind or gentle about saying to those in need: “We’re cutting you off,” or “We’re cutting you back” and “Fend for yourselves”—especially without explaining how.

If proposed Medicare-replacing federal block grants aren’t sufficient to cover the cost of 50 separate programs, how will fixed-income seniors make up the difference? If we stop funding Planned Parenthood, can we count on moms, dads, churches, schools, hospitals and other organizations to handle sex education, pregnancy prevention, Pap smears, breast-cancer screenings, sexually transmitted disease prevention and women’s health services? What if disease escalates as a result of these cutbacks? Who will cover the cost—and will it cost less than preventive measures?

If Environmental Protection Agency cutbacks result in higher cleanup costs or higher disease rates for future generations, who will pay—and will it cost less than preventive measures?

If we fail to reform financial regulations and that triggers another job-killing recession, who will help us recover—and will it cost less than preventive measures?