Review: Neely Still King of Superstar • Posted 05/17/08

Jesus Christ Superstar
The Opera House
Boston, MA
May 17, 2008

Somewhere in America, two men in business suits approach the outer doors of a vault. The first man knocked gently and called out quietly, "Mr. Neeley?" as if not completely sure whether to disturb the rest of the cryogenically frozen superstar. The second man, more confidently, called through the door, "Mr. Neeley, we were wondering if you would be interested in playing Jesus in a touring revival of Jesus Christ Superstar?"

Muffled moans could be heard. The men exchanged glances mixed with fear and uncertainly. Finally, after another minute of uncomfortable sounds filtering through the doors, a voice asked, "Is he still crucified at the end?"

"Yes, Mr. Neeley."

The doors of the vault opened with a hiss, seemingly of their own accord, smoke seeping out from the cracks. The men jumped back, the light from the room blinded them, and Neeley, preserved through the time, emerged to take his place, once again, in the lead role of the Andrew Lloyd Webber musical.

You might remember Neeley as the star of the 1073 film adaptation. It might be more fun not to guess how old he is now. But though time waits for no man, Neeley is so perfectly preserved, his voice so crystalline, that only his robotic movements on stage and strange waxy complexion give him away.

I've seen a few of the icons of musical theater in the roles that made them famous. Michael Crawford during his last run as the Phantom. Joan Diener reprising her performance as Aldonza. But truthfully, none was more impressive than Ted Neeley in the role of Jesus of Nazareth. His vocals were chilling, stretching out high notes and shrieking with an otherworldly mien that did more to convey the emotion of the story than any single other aspect of the production. Neeley's voice was a force of nature when Jesus sweeps into the temple in Jerusalem and banishes the sinners, and also later, when he implores God, "Oh, why should I die? Can you show me now that I would not be killed in vain?"

Bringing in an old man to play Jesus amongst an otherwise really young cast creates an interesting dynamic. It's clear that his followers worship him and feel amazingly lucky to be at his side, and it doesn't matter if I'm referring to Jesus or Neeley. But an old man being comforted in the arms of the Mary Magdalene is a way more interesting Jesus and suggests a sexual tension that is hinted at but is mostly downplayed. And Neeley is surrounded by a stellar supporting cast including Tiffini Dodson as Mary, Corey Glover, who we are told was a member of Living Colour, in the role of Judas and Aaron Fuska in the hysterical in the bit role of King Herod.

Dodson did a fine job as the emotional center of the story, but it was Glover who was able to truly hold his own next to Neeley. Glover's rock roots played to musical arrangements of Heaven on Their Minds and Superstar perfectly. He pitched the doubt and reluctance of Judas' betrayal convincingly and ripped out his soul on stage. Then he came back with sunglasses and a microphone (a totally unnecessary prop) to distract us during the crucifixion.

If anything, the production's only failing was a spare stage. There wasn't much to look at and the stage convention of marching up the staircase and back down again to indicate travel and time passing was silly more than anything. Even a touring company could benefit from the addition of a backdrop or two. The scene with Herod, while spectacularly camp, was carried on the weight of Fuska when a little visual spice would have gone a long way.

This version of Jesus Christ Superstar rallied around casting Neeley in the role. Sure, his movements on stage were wooden and carefully orchestrated to avoid injury, but that voice was enormous. And if anything, age and maturity has strengthened his approach to the role. Twenty-five years after Jesus Christ Superstar made Neeley an icon, he is still a superstar.