Cover Joshua Bess as Jesus and the ‘Jesus Christ Superstar’ international tour company (Photo: Vitt Salvador)
Joshua Bess as Jesus and the ‘Jesus Christ Superstar’ international tour company (Photo: Vitt Salvador)
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The Olivier Award-winning reimagined production of ‘Jesus Christ Superstar’ has officially descended upon Manila, playing at The Theatre at Solaire until May 31. Here are our thoughts on the gala performance last May 5
Undeniably electrifying with its blaring lights and soaring high notes from the principal cast and the ensemble, Jesus Christ Superstar brought to Manila by GMG Productions and David Ian for Crossroads Live and Work Light Productions aims to replicate the concert-like staging that its revival production showed at the London Regent’s Park Open Air Theatre is known for. Yet, for a musical born out of controversy, this touring iteration is surprisingly not shocking enough for a predominantly Catholic country that had the privilege of experiencing its staging under the choreographic direction of National Artist Alice Reyes in 1972, among others.
To understand the cultural weight of this iconic show, one must look back to its genesis. Andrew Lloyd Webber and Tim Rice originally conceived the piece in 1969, with the initial single Superstar, until a full rock concept album was released in 1970. It was a radical idea that presented the Passion of Christ through the cynical, sympathetic eyes of his betrayer, Judas Iscariot. It famously drew ire for focusing heavily on the human, fallible side of Jesus, questioning the nature of his divinity and notably omitting his resurrection. While the Manila leg of the UK touring production successfully brings out the show’s origins of paying homage to rock and roll’s varied forms as it was emerging in the Sixties and Seventies, it leaves some of that revolutionary, boundary-pushing spirit that the later productions and film adaptations of Jesus Christ Superstar were renowned for at the door.
Read more: Gird your loins: an honest review of ‘The Devil Wears Prada 2’
Above Joshua Bess, Gab Pangilinan and the ‘Jesus Christ Superstar’ international tour company (Photo: Vitt Salvador)
Joshua Bess, Gab Pangilinan and the ‘Jesus Christ Superstar’ international tour company (Photo: Vitt Salvador)
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For those familiar with Jesus Christ Superstar’s later versions that allude to their respective contemporary times, the UK touring production strips that down to focus solely on the source material’s musicality and lyricism. Instead of utilising costuming and scenic elements to reflect modern political or social climates, the production plays it incredibly safe.
The opening scene is crucial for commanding the audience’s attention, but the sound system was simply not loud enough at the beginning of the gala performance. This lack of auditory punch seemed to give the performers a sense of restraint inadvertently. The choreography, courtesy of Drew McOnie, highlights the performers’ physicality, aiming to achieve a kitschy vibe for its songs. However, the ensemble’s emotional output and energy did not match the choreographic intent when the curtains went up. Energy finally picked up halfway through the first song, and it wasn’t until halfway through Act 1 that the production achieved the necessary balance between its rock acoustics and the performers’ raw power.
Read more: Gab Pangilinan to Tanya Manalang-Atadero: 7 Filipina theatre actors and their must-see productions
Above Joshua Bess as Jesus and the ‘Jesus Christ Superstar’ international tour company (Photo: Vitt Salvador)
Joshua Bess as Jesus and the ‘Jesus Christ Superstar’ international tour company (Photo: Vitt Salvador)
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In a sung-through rock opera, the emotional heavy lifting relies entirely on the cast’s ability to sing the songs perfectly while utilising their facial expressions. The production’s saving graces, however, are found in the standout performances of Judas, played by Javon King, and Mary Magdalene, played by Gab Pangilinan.
King brings a necessary complexity to Judas, the character who originally gave the 1970 album its critical, questioning voice. Manila-based actor Pangilinan shines brilliantly in her role, with her portrayal of Mary Magdalene bringing the grounded warmth needed to balance the show’s frantic energy. Joshua Bess stepped into the role of Jesus for the opening week, as actor Luke Street has yet to arrive in Manila. Nevertheless, the understudy possesses tantalising eyes and a commanding stage presence that firmly meet the rigorous requirements of his musical numbers. There were instances when his acting choices felt safe—a stark contrast to the red-blooded, angst-ridden vocals that he was able to deliver.
Above Gab Pangilinan and Joshua Bess (Photo: Vitt Salvador)
Gab Pangilinan and Joshua Bess (Photo: Vitt Salvador)
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The Philippines has a deep, longstanding tradition of mounting passion plays, or Senakulo, every Holy Week. Interestingly, many contemporary versions of these local stagings have actually adopted the nuanced characterisation of the flamboyant Herod, powerless Pilate and rationalised Judas that Jesus Christ Superstar introduced to the world over 50 years ago.
Given this deeply ingrained cultural connection, the Manila leg of the UK touring production’s polished approach feels like a missed opportunity for a show as spectacular as this. Even with its historically blasphemous takes on the story of Jesus Christ’s passion and death, the show echoes perennial questions about moral truths and one’s faith. These themes could have resonated profoundly with the local audience had the production dared to allude to current events.
Jesus Christ Superstar remains a vocal and visual spectacle; the sheer electricity of the timeless rock score and the stellar standout performances make it a highly entertaining and worthwhile night at the theatre.
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About
Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
Work
Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
For any leads, you may reach him through @franzsorillaiv on Instagram or franz@tatlerphilippines.com via email.
