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1 of 3 Premium Clicks used this month SUBSCRIBE Print + Online Subscriber Activation | Register x Forgot Password | Need an Account? subscribe | newsletter | deals Classifieds Jobs Autos Real Estate FEATURED » NEWS NOW Our View: Shuttle vision ... Council Corner: In the process of revolution, does Ashland lead or react? ... Ashland church greets Cuba Caravan with potluck Thursday ... Our View: Shuttle vision ... Council Corner: In the process of revolution, does Ashland lead or react? ... Ashland church greets Cuba Caravan with potluck Thursday ... THEATER REVIEW Ashland-set revival of 'Jesus Christ' comes to life at Camelot Comment By Roberta Kent For the Tidings DailyTidings.com By Roberta Kent For the Tidings Posted Jun. 28, 2015 at 5:39 PM By Roberta Kent For the Tidings Posted Jun. 28, 2015 at 5:39 PM » Social News “Jesus Christ Superstar,” by Tim Rice and Andrew Lloyd Webber, is one of those classic musicals that everyone knows — or thinks they know. The music is just that familiar.  The rock opera about Jesus was a bit of a “shocker” when it opened on Broadway in 1971. It portrays Christ as a vulnerable and uncertain man and Judas betrays Jesus because he fears the political repercussions of Jesus’ acclaim as the Messiah. In spite of the attendant controversy, “Jesus Christ Superstar” was an undeniable success. The initial Broadway production had 711 performances. There have been numerous international productions and many revivals, some in modern dress and set in the modern era.  But the story remains the same. “Jesus Christ Superstar” recounts the last week of Jesus’ life as narrated in the Gospels.  Spoiler alert: There is no happy ending here. The finale is the Crucifixion. The play skips the Resurrection — when he’s dead, he’s dead. The production of “Jesus Christ Superstar” that opened at Camelot Theatre in Talent on Friday moves the setting to the Rogue Valley in 2019 in the chaos following a nuclear holocaust. The post-apocalypse setting works well. Identifying it as the Rogue Valley, not so much. What makes this production soar — and soar it does — is its extraordinarily talented cast, directed by Camelot Artistic Director Livia Genise, and the incredible choreography by Audrey Flint and Rebecca K. Campbell. Erik Connelly as Christ, David King-Gabriel as Judas and Kendra Taylor as Mary Magdalene make the most of Lloyd Webber’s memorable score and Tim Rice’s sly lyrics with their riffs on the words of the Gospels. They are well-matched by Don Matthews as Caiaphus, Nathan Monks as Pilate and Michael Wing as Annas. The rest of the cast of 22 doesn’t miss a beat, vocally or rhythmically, as they swirl, swoop and shimmy around Camelot’s intimate stage. Rice and Lloyd Webber gave Judas Iscariot the pivotal role in “Jesus Christ Superstar.” He is torn between love and loyalty to his friend and what he perceives as a movement spiraling out of control. Jesus, on the other hand, mainly mopes around the stage, increasingly overwhelmed by the demands of his followers and his inescapable destiny. The composers then threw in Mary Magdalene as a sort-of-kind-of love interest and rival to Judas for Jesus’ friendship. They also gave her the take-away song of the show, “I Don’t Know How to Love Him.” The big production number — other than the artistically enacted Via Crucis and the Crucifixion of the finale — belongs to a dissolute Herod (here played as an over-the-top and campy woman by Rebecca K. Campbell) as he taunts Jesus to perform a miracle. (“Prove to me that you’re no fool/walk across my swimming pool.”) In Camelot’s production, the Roman soldiers are black-clad storm troopers and Jesus’ followers are the confused remnants of a society trying to survive. Pilate, Caiaphus and Annas are power figures representing some unnamed remaining government structure. The play’s action takes place in “Ashland Plaza,” “Lithia Park,” “Skate Park-Talent” or “The Ashland Armory,” identified by flashed projections onto the back of the stage. The Garden of Gethsemane has become “The Japanese Garden, Lithia Park” and the Crucifixion takes place at the “Jackson County Expo.” You know you’ve gone too far when the audience titters at the appearance of the next scene location label. But the complex platform set by Don Zastoupil, the lighting by Tobin Roggenbuck, and the video and sound design by Brian M. O’Connor rescue it all. Add to that the inventive costumes by Barbara Henson and the intriguing hair and makeup design by Cherelle Guyton. Mostly, though, Camelot’s “Jesus Christ Superstar” works because of Connelly, King-Gabriel, Taylor, Matthews and Monks. It’s a riveting summer evening of retro razzle-dazzle. Roberta Kent is a freelance writer living in Ashland. Reach her at [email protected].   By Roberta Kent For the Tidings DailyTidings.com By Roberta Kent For the Tidings Posted Jun. 28, 2015 at 5:39 PM » Comment or view comments Reader Reaction » STAY INFORMED Email NewsLetter Sign Up Today Sign up for our newsletter and have the top headlines from your community delivered right to your inbox. Southern Oregon Directory Featured Businesses Loading... 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