The State - 5/21/2004

Review of ‘Superstar’ misses the mark

By LAMONTTE M. LUKER, PH.D.

Professor of Hebrew Scriptures
Lutheran Theological Southern Seminary

I object to Jeffrey Day’s harsh review of Workshop Theatre’s “Jesus Christ Superstar.” It is not anti-Semitic, as everyone in the play is Jewish except the Romans. The black garb of the moneychangers represents the international business community and power structure, and almost all in the cast take part in the “flogging” symbolizing the Christian doctrine that we all killed Christ.

Judas was not the only one wearing leather pants; Pilate did also, illustrating that Judas was in league with the Roman leader. Dressing the rest of the disciples in tank tops displayed them as rather naive let’s-love-one-another followers in contrast to Judas, the independent and critical thinker — a theme true to the original Rice-Webber recording of the opera.

The minimalist set is perfect for this theater, allowing the focus to be on the action and the actors, who consistently delighted me with their fresh interpretations of their roles.

I have seen many productions of this play over the past 30 years; I find this one to be one of the most original, perhaps the finest, and I went to see it again.

The State - 6/1/2004

‘Superstar’ review unduly harsh

By EVELYN CLARY

I have attended performances, played leading and chorus roles, assisted directors and costumers, and volunteered at Columbia College, Town, Workshop and Trustus theaters. I have also read Jeffery Day’s reviews. I liked his May 7 article on “Jesus Christ Superstar” but disagreed with his review the following day because it includes factual errors. Day says he has never seen a production in which Jesus was flogged or covered with blood by the chorus. He must not have seen the 2000 movie, which includes those scenes.

The show was terrific. Christopher Cockerell is an intensly sensitive Judas who brings a smooth vocal tone to the role and does not miss notes. Day missed the intelligence and emotion that Timothy Robertson uses in playing Jesus. He also missed the beauty that Kristin Abbott brings to the role of Mary Magdelene. By the way, since the disappearance of castrati, it is acceptable and often neccessary to sing pop in falsetto — for which Day criticizes Robertson.

Day was right to applaud the band, but failed to acknowledge the chorus, an energetic group of supportive players. The show is a testament to Scott Blanks’ solid directoral vision. Participants in community theater vary in age and experience, and most are not paid for the hours they invest in rehearsals and performances. I have not always liked every actor in every role, but have yet to see a show with more failings than strong points.

I am proud of community theater. I am not proud of needlessly harsh reviews that raise baseless accusations of anti-Semitism, poor taste and bad singing.

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