CRANFORD – A rock musical isn’t easy to pull off at a local theater. It’s challenging to find area singers who can act, belt, screech, sing, and sell a song through multiple octaves. Add to the mix that it’s written by the famed Andrew Lloyd Weber, and it is daunting to present a production with some of his familiar, iconic songs. But in the capable hands of director Lauren M. Grof-Tisza, producer Sean E. Lough, music director Hannah Elarmo, choreographer Raven Dunbar-Abbott and lighting designer Nik Marmo, the seemingly impossible goal is achieved in Cranford Dramatic Club (CDC) Theatre’s spectacular season opener.
Nine instrumentalists are nestled in a semi-circle upstage on the small CDC stage that is cleverly draped with white sheets covering boxes of varying heights, a platform and ramp. From the preshow to the last minutes, the lighting casts a dramatic mood and plays an enormous role in this production. The plot of the 1970’s rock musical follows the baptism, ministry and death of Jesus of Nazareth. Based loosely on the Gospels’ account of Christ portrayed in the Bible’s New Testament, it takes lots of liberties with the Christian account. According to lyricist Tim Rice, the reason he and Andrew Lloyd Weber did not end the piece with the resurrection of Christ is because Mr. Rice does not believe Jesus was the Son of God. Mr. Rice told reporters, “We approached the opera from the point of view of Christ the man, rather than Christ the God.”
Jesus Christ, usually played by a baritenor, needs to possess a gorgeous falsetto. Enter Jared Milian who amazes with control, emotion, and a voice and acting ability that won him Union County Performing Arts Center’s title of ICON. When screaming at the money changers who are selling their wares in the Temple, this Jesus’ voice immediately waterfalls into a controlled, breathtaking falsetto. That’s not something an average singer can do. But Jared Milian’s voice has never been called average, I’m sure.
In the role of Judas Iscariot, Blaze Levario plays a confused but sympathetic character. They have powerful pipes that are displayed every time they open their mouth. When they sing “Damned for All Time,” we feel Judas’ angst. Then remarkable lighting by Nik Marmo floods the stage to red to suggest where Judas will spend his eternity. As Judas walks to hang himself, the windows with scrims tastefully yet dramatically emphasize the event. The group of officials follows with a chilling rendition of “Blood Money” which questions Judas’ motives.
Clever staging by director Grof-Tisza has Pontius Pilate (Michael Fleischer) ceremonially washing his hands. With a magic-like trick, the water turns dramatically to blood. Then when King Herod (Shane Long) appears as an Elvis type bad guy, accompanied by three specialty singers/dancers, gold lame from his sneakers adds sparkles to the scene. Of course, he’s wearing skin-tight black leather pants to complete his ensemble. Costume designers (Autumn Hyun and Paris Bates) have done a fantastic job using an overall color palette of beige, fawn, dove colors with a nod to hunter green bands for the apostles. Their eye to detail is witnessed in the gold bracelets and rings that the priests, Caiaphas, Annas and Pilate wear. The judgmental tribunal’s supercilious attitude is portrayed in their posture, demeanor as well as through clever choreography that feels militaristic in “This Jesus Must Die.”
The literal and figurative circling metaphor of the talented ensemble as they danced and moved around Jesus many times throughout the show echoes how confused the crowds were about who this figure is. When Christ is mobbed by the people who want a miracle for their health, it is realistic of just how out of control a crowd can get. Mezzo – soprano Melissa Calicchio plays Mary Magdalene, a peace maker with compassion and believability in “Everything’s Alright” and “I Don’t Know How to Love Him.” Likewise, in the song “Peter’s Denial,” Robbie Stevens, Jr.’s portrayal of the thrice denier of Christ is spot on.
The show stopping number on opening night, “Gethsemane (I Only Want to Say)” by Mr. Milian, built to an astounding climax. Another highlight of the second act is “King Herod’s Song” which delivered snide, clever lyrics like, “So you’re the great Jesus Christ, prove to me that you’re divine, change my water into wine.”
Even with a small instrumental ensemble, the energetic music director/ keyboardist and conductor Hannah Elarmo gets the most out of the group especially in the familiar title song. If you’re wondering “What’s the Buzz?” (one of the show’s fun songs), go to Cranford Dramatic Club Theatre’s show to find out. The production runs weekends through October 27. For tickets, call the box office at (908) 2767611 or visit their website at cdctheatre.org.
