Super-Gaudy ‘Superstar’

A quarter of a century after its bow as a recorded “rock opera” and 23 years after its Broadway debut, Andrew Lloyd Webber’s “Jesus Christ Superstar” has become a coat of many colors, particularly in this touring anniversary production at the Orange County Performing Arts Center through Sunday.

Webber was 20 when he wrote the score, and it remains the freshest and most original of his works; it shows the composer flexing his youthful musical muscles. And it has the inventive, anachronistic and satirical lyrics of Tim Rice, with whom Webber never should have split. Without Rice, he has become the Barry Manilow of theater music writers.

Centered on the last seven days in the life of Jesus of Nazareth, the libretto is simplistic--not a rock opera in the true sense, as was “Hair,” but more a rock oratorio with tableaux.

And that’s how this flashy, gaudy production is presented. The songs are belted mostly face out to the audience in a staging framed by an overabundant light show. Garbed in eclectic, colorful costumes, the cast is kept jumping in director Tony Christopher’s athletic, creative contemporary choreography. All of it nearly overpowers the piece itself.

There’s an odd feeling that one has seen something like this before, the biblical legend swathed in erotic imagery, as though Cecil B. DeMille had lived to direct music videos with his obligatory hint of semi-nudity, overflowing belle poitrines , glistening muscle and massive movement.

Like Christopher, DeMille might have put his Roman guards in Stonewall leather, his Soul Sisters in diaphanous drapery to lure Judas, and he would have chuckled as he ordered King Herod to moon the audience.

Then there’s the unfortunate moment with Jesus and the disciples at the table, shifting for a brief second into the positions of Da Vinci’s “Last Supper.” Just like the Laguna Pageant of the Masters.

The moments that work best are when the light show is on least, when the stage is bare and the focus is on performance. During those unpretentious vignettes, the excitement of vibrant vocal performance takes over: Ted Neeley’s often-electric Jesus singing “Gethsemane,” Carl Anderson’s tortured Judas doing “Damned for All Time” (Neeley and Anderson are veterans of both the Broadway and film productions) and Syreeta Wright, of Stevie Wonder fame, innocent and pure as Mary Magdalene regretting “I Don’t Know How to Love Him.”

*

James O’Neill is a powerful and empathetic Pontius Pilate, very touching when beseeching Jesus in “Trial Before Pilate,” and there’s a vocal Mutt and Jeff quality to Danny Zolli’s squeaky Annas and David Bedella’s basso Caiaphas that defines their ludicrous pomposity. Coming from the heavy-footed Laurent Giroux, the giddy high camp of “King Herod’s Song” is less giddy than usual, but the rest of the supporting cast is in step with the MTV-flavored staging.

If you’re too young to be familiar with the show, it’s not as loud as a Guns N’ Roses concert, and if you’re too old to know it, it’s louder than “Mame.” It might even get you to your feet cheering, as it did the opening-night audience, after Jesus had ascended to the fly loft.

* “Jesus Christ Superstar,” Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa. Thursday through Friday, 8 p.m., Saturday, 2 and 8 p.m., Sunday 2 and 7:30 p.m. Ends Sunday. $19-$45. (714) 740-2000. Running time: 2 hours, 15 minutes. Ted Neeley: Jesus of Nazareth

Carl Anderson: Judas Iscariot

Syreeta Wright: Mary Magdalene

David Bedella: Caiaphas

Danny Zolli: Annas

James O’Neill: Pontius Pilate

Laurent Giroux: King Herod

A Landmark Entertainment Group, Magic Promotions, TAP Production of the musical by Andrew Lloyd Webber and Tim Rice, directed and choreographed by Tony Christopher. Scenic design: Bill Stabile. Lighting design: Rick Belzer. Costume design: David Paulin. Sound design: Jonathan Deans. Musical director: Craig Barna. Special effects: Gregg Stephens. Stage manager: Joe Capelli.