There's something about the theater that makes even the most random of performances cultured. The Belk Theater in uptown Charlotte hosts an array of shows every season. The latest of which was the timeless classic, "Jesus Christ Superstar." A friend and I attended the final night performance on Wednesday, June 4.
The pre-show lobby was a buzz of light conversation, cocktails, and lines at the bathroom. Guests were all dressed in a variety of styles; some women were in nice dresses with jewelry and high heels, others arrived in casual jeans and a tee shirt. To the side of the room, light snacks and refreshments were sold along side sweet deserts. Orchestra tickets led guests downstairs in the Belk Theater and balcony seats above. As we slide into our seats, we heard a little girl behind us with her mother and saw a group of families in front of us.
An older woman beside me was talking to her husband, telling him the over all plot of the show. Suddenly, the lights dimmed and whispers turned into applause. A loud voice over the intercom announced the show features, strobe lights, and fog machines. Then the orchestra flailed up and the show began.
It has been so long since I've seen this musical that I forgot it was a rock opera with no dialog, only singing. Right away, the multitude of lights dominated the stage and added to the emotions each song sought to emphasize. Everything had a powerful rock beat to it with intense guitar solos and ear piercing high notes.
The show began with Jesus Christ (Ted Neeley) performing one of his miracles on a fallen Jew murdered by the Roman Guard. The stages lights shot out all around him in a radiant, heavenly glow. Everyone was amazed by Jesus's powers and divine status save one man, Judas Iscariot (Corey Glover). While others worship Jesus, he was concerned that if Jesus' number of followers continues to increase and his stories of divine power reach the higher order, he would be in danger.
Judas was the only one who questioned Jesus as he traveled to Jerusalem. His comments focused on how their money was spent, Jesus's company, and their overall mission. The story continued through Jesus's last ten days. Along the way, Judas was depicted as a troubled, conflicted man only trying to save as many lives as he could and Jesus was tired and afraid of what God wanted him to do.
The first act ended with "Blood Money," in which Judas confessed to the priests where they could arrest Jesus. As soon as the lights came back on, guests stood to stretch or head for the lobby. Lasting about ten minutes the break between acts gave a chance for small talk and audience opinions on the show so far.
In the lobby, shrimp cocktails and chocolate moose, along side New York cheesecake satisfied the mid performance hunger. Many guests discussed the difference between the local performance and past Broadway shows while others thought of future shows to attend. The lights eventually flickered, signaling the second act to begin soon and people filed into the doors to return to their seats.
The second act began and members of the audience were once again drawn into the epic story of Jesus and Judas.
Audiences witnessed the entire story from Jesus' first steps into Jerusalem to the crucifixion. Though the story was a serious tale to tell, there were moments of good humor and happy thoughts. The "King Herod's Song," performed by Aaron Fuksa, had the king of Rome prancing around the stage in his bathrobe with tropical belly dancers following him. Audience could not help but laugh at him.
Being a rock opera, there were many songs in which the music and the lights overpower the singers. But voices did carry through, especially Neeley's. This Jesus could jump from a raspy undertone to a screech that would give Sting a run for its money. Combine his singing with the lighting affects on stage and audience members were blinded at times when taking it all in.
The lighting was a major part of this show. It acted as the voice and presence of God and drives the show forward. The lighting also gave a variety to the one stage prop. There was no scene change during the entire opera. A bridge stretched across the stage and never moved from beginning to end. The lighting affect kept the stage fresh.
The reactions this opera generates makes you want to watch other people watching the show. Several times throughout the songs I could hear the little girl behind me asking her mom what was going on or what some of the words meant. Other times, people would jump or gasp at high notes and visual affects.
Every show is a different experience with understudies, live performances and audience members. Closing night was a big success for "Jesus Christ Superstar." Presented through the North Carolina Blumenthal Performing Arts Center, this and other shows and musicals bring an enriching experience to Charlotte. Tickets for upcoming shows are available through the box office or online at www.blumenthalcenter.org.
