Program Note

from Jesus Christ Superstar (Program Book)

Who’s Who in the Cast

In the early 1970s when there were few reasons to come to the unrenovated theaters at Playhouse Square, thankfully, there was rock ’n’ roll. This was the time where environmental aesthetics were forsaken in favor of being in the aortic-vibrating presence of your musical idols. In those years, the countercultural rock experience — aka the British Invasion — was sweeping across America and Cleveland faster than you could say My Sweet Lord. However, it was influences from Midwesterners such as Bob Dylan and Belkin Productions that brought vision to the launch of the rock opera Jesus Christ Superstar. First, let’s step back across the pond to London, England, to the beginnings of this now iconic creation. Their first collaboration, Joseph and The Amazing Technicolor Dreamcoat, brought a bit of notoriety to the 20-something duo Andrew Lloyd Webber and Tim Rice. Soon, they began noodling on their next musical creation. King Richard and the Crusaders? King Saul?

Finally, the Dean of London’s St. Paul’s Cathedral suggested they tell the story of the final days of the life of Jesus Christ. And so they did, perhaps with slightly more verve than this man-of-the-cloth had envisioned.

The notion of telling this story of betrayal and execution through the eyes of Judas Iscariot was inspired by the 1964 Bob Dylan song “With God on Our Side.” The lyric of the song postures the double-cross of Judas’ kiss as Dylan ponders: You’ll have to decide ... Whether Judas Iscariot ... Had God on his side.

Judas, from whose perspective Superstar is told, is a wounded spirit and a misfit. As a follower, he seems to love the doctrine that Christ espouses and simultaneously he is in doubt. For me, this is a bit reminiscent of Aaron Burr’s character in the musical Hamilton. In that piercing moment when he murders Hamilton, is he wishing death on his opponent or acting in a moment of self-preservation? As Judas offers the deadly kiss to Jesus, his destiny as a universally scorned antagonist is catapulted into the ages.

Webber and Rice’s contemporary retelling of this ultimate betrayal turned into an unexpected journey, as the established theatrical kingpins of London’s West End told them, “this is the worst idea in history.” Desperate for a path with their new piece, the tenacious twosome turned to the music industry and the label that had released The Who’s rock opera Tommy. Ultimately, in September 1970, they struck a deal, releasing the double “brown” album and its 28-page libretto.

The album topped the Billboard charts in 1971, landing the No. 1 slot at year-end and edging out Tapestry, Carole King’s gargantuan triumph. Although there was a passionate appeal for Superstar, the music sparked an outcry from traditional institutions. Initially, the “blasphemous” LP was banned by the BBC, perhaps better suited for the turntables south of Purgatory. Christians and Jews alike scoffed at it.

However, small, unauthorized productions began popping up in schools and churches. In an attempt to protect the rights and garner the growing enthusiasm for the piece, a London record producer decided to stage Superstar as a U.S. arena tour, playing Cleveland’s Public Auditorium in July 1971 during the initial month of this groundbreaking incarnation.

That engagement and many dates throughout the Midwest were promoted by the legendary impresarios Jules and Mike Belkin of Belkin Productions.

The Midwest is again making its mark with the 50-year celebration of the album. At Playhouse Square, we are adding 22 local string players, bringing the total number of musicians to 33. The arrangements were created especially for our engagement by Sir Andrew Lloyd Webber’s company, the Really Useful Group. This grand musical presentation is only scheduled to occur at Playhouse Square.

After experiencing Superstar in the spirit of its original youthful vigor, you may find yourself really changed. Enjoy,

Gina Vernaci President & CEO, Playhouse Square