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April 12, 2017Posted by on
The first major splash made by the songwriting team of Tim Rice and Andrew Lloyd Webber was a 1971 concept rock opera album titled “Jesus Christ Superstar.” For many of my generation, that was how we first encountered this work, allowing our imaginations to fill in what the characters looked like and the setting they would wander through. As it moved quickly to stage, and then to film, it developed a new, wider audience, and the show has rarely been off the boards since.
Now at the Candlelight Pavilion Dinner Theater, “Jesus Christ Superstar” – for those who don’t already know – gives a comparatively modern spin to the tale of the last few weeks of Jesus’ life. Though ostensibly “humanizing” the story (i.e.: making it more about the man than a deity), it stays fairly faithful to the commonly held storyline, while embracing what is always a dramatist’s challenge: finding a motivation for Judas’ betrayal. And the music is literally classic Lloyd Webber: lush in spots, stridently rock-and-roll in others, somewhat thematically repetitive, with that unforgettable quality which has kept him a success for decades.
At Candlelight, co-directors Chuck Ketter and John LaLonde have assembled a fine cast. They look right, sing with skill and intention, and create the atmosphere necessary for the show to be a success. Also necessary for success are a few key players. Heading the list, Kyle Short makes an effective Jesus, balancing his dynamism against his exhaustion and fear. Emily Chelsea gives Mary Magdalene’s songs a slight country lilt, but it works.
Stanton Kane Morales as Pontius Pilate, develops a rather wistful tone, which works well. Camilo Castro, a true bass, gives Caiaphas the aura of villainy necessary for this show’s spin on events. A remarkable ensemble, including Orlando Montes as Peter, sings well, dances with enthusiasm and skill, and creates the atmospheres necessary – whether of fawning, devotion, delight, demand, or panic – to make the piece work.
A true standout in all of this is Richard Bermudez as the angsty Judas, angry and horrified, and in the end sure he’s been duped into his actions. Bermudez has the combination of vocal strength and articulation necessary for what becomes the binding storyline behind the obvious. One just wishes that the shadow of his final demise looked a bit more like a person, but that is nitpicking.
Pacing is everything in this show, and band director Alan Waddington never lets the thing slow down or pause. Putting a band on the small Candlelight stage means the large ensemble must be maneuvered with skill in front of and even above the musicians at times, which works remarkable well except when someone in a long robe has to climb a ladder in a hurry – a bit nerve wracking to watch. Still, the two directors have a gift for the visual, and some moments prove especially impressive, including the very last sequence, as Jesus is executed. Indeed, the final tableau as the lights go out is particularly powerful.
Kudos also to choreographer Dustin Ceithamer for creating dance and movement which look spontaneous even as they are not, and to costume coordinator Merrill Grady for giving the sense of that Renaissance view of the Middle East which so characterizes one’s mind’s-eye view of the time period.
In short, it is good to see “Jesus Christ Superstar” again, in part because – above and beyond the religious significance – the subject matter of political manipulation and the dangers of flying off the handle seems very current, and in part because it is good to revisit a work from the start of two songwriting careers which, both together and independently have helped define the stage and screen as it is known today. And, of course, at Candlelight Pavilion one also gets a tasty meal.
What: “Jesus Christ Superstar” When: through April 29, doors open for dinner at 6 p.m. Fridays and Saturdays, 5 p.m. Sundays, and 11 a.m. for lunch matinees Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd in Claremont How Much: $61 – $76 adults, $30 -$35 children, meals inclusive Info: (909) 626-1254 ex.100, or http://www.candlelightpavilion.com
March 12, 2016Posted by on
Which is good to remember when a chance to see this great classic appears on the scene. This thing is not to be dismissed as silly, syrupy or just an antique. Now in a solid production at the Candlelight Pavilion Dinner Theater in Claremont, one is reminded of its complexity: it has some darker overtones, and a consistent flavor only accented – rather than interrupted – by songs and dance. There’s humor, a certain amount of pathos, and a chance to see something that changed an art form.
The story, taken from Lynn Riggs’ play “Green Grow the Lilacs,” uses the tale of the romance of Curly the cowboy and Laurie the farm owner to watch the period of Oklahoma’s transition from cow country to settled farmland, and from territory to much-anticipated statehood. In the midst of this there is tension, a certain amount of frontier justice, folksy cooperation, and a quiet undercurrent of danger. And, of course, there’s a romance to center the whole thing upon.
Gregg Hammer makes a likable Curly, and sings with confidence some of the show’s most iconic songs. Michaelia Leigh gives Laurie that combination of youthful nervousness, even petulance, and genuine feeling, and also sings well. Michael Skrzek creates a truly goofy Will Parker, the knuckle-headed cowboy with his heart set on the rather amoral Ado Annie. Monica Ricketts has just the right timbre and carefree attitude to make Ado Annie his comic counterpart.
Jonathan Arana has a lovely time with the slippery, but generally good-hearted traveling peddler Ali Hakim. Still, the finest performance of the night is Jeffrey Ricca’s Judd Fry. Ricca makes him far more real than sometimes, and more subtly menacing, letting loose the dark side of the west in a very convincing way. Also worthy of note are the solidly practical Dynell Leigh as Aunt Eller, and Sam Nisbett as Ado Annie’s frustrated father.
The choreography, listed as recreated from the original by Dustin Ceithamer is actually more of a combination of his spin on the original and the original itself. This was made a bit more tricky on opening night by an injury to one of the ensemble dancers in a final rehearsal – something the cast handled with extraordinary aplomb. Dylan Pass and Stephanie Urko make nice work of Dream Curley and Dream Laurie during that most pivotal sequence.
Director Chuck Ketter has a feel for this material that shows throughout. The pacing is tight and the interrelationships easy to follow. His set design is a big help in this, as a few major pieces and occasional drapes allow things to move from scene to scene with little interruption.
And then, of course, there is that classic music. Some of these songs have become part of America’s DNA, and it is important to get them right. Music Director Douglas Austin, with this show, celebrates his 100th musical direction gig at the Candlelight Pavilion, and there’s a reason he keeps being asked back. He has a feel for the room, and for how to fill it when the music demands solid emotion.
So, go take in “Oklahoma.” If you’ve never had the chance to see it live, to have Curley walk past you celebrating “Oh, What a Beautiful Mornin’,” you’ve really missed out. And here it comes with a good dinner.
What: “Oklahoma” When: Through April 9, doors open for dinner at 6 p.m. Thursdays through Saturdays, and for lunch at 11 a.m. Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58 – $73 general, $30 – #35 children under 12 Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com