The Alternative Jesus Christ Superstar: Putting It Together Bit by Bit

Andrew Lloyd Webber and Tim Rice’s classic rock opera Jesus Christ Superstar re-appeared in Manila this year in two versions. One of these was produced by Atlantis Productions and featured a combination of music personalities from the rock and pop worlds (notably Basti Artadi as Jesus and Miss Saigon’s Robert Sena as Judas).

Another production, less publicized but no less powerful was staged in support of the environment during Holy Week at Guadalupe, Makati. The Sagip Pasig Movement and 70’s Bistro, together with a host of figures in the alternative music and theater scene (PETA), spent Holy Week with a crowd of curiosity-seekers, critics, fans and friends in commemoration of Earth Day 2000.

Rave reviews from audiences and critics alike has brought the “alternative” environment-oriented production back on stage, this time at the Music Museum. The production is slated for a performance run on June 2, 3, 9, 10 and 16.

The new cast features Noel Cabangon as Jesus Christ, Rico Blanco as Judas, Jett Pangan as Pilate, Cynthia Alexander as Mary Magdalene, Papadom Gamboa as Herod, Karl Roy as Simon Zealot, Minco Fabregas as Caiaphas, and Darryl Shy as Annas. Soxie Topacio directs.

PhilMusic.com was able to sit in from the production’s inception right until its final show. And here are our notes.

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There are a lot of things that must transpire before a production can be staged. Rehearsals, study, consultation, and so forth. Watching the pieces struggle to fit can be as fascinating as seeing the final product.

At the first run-through with both band and cast, PhilMusic.com made itself inconspicuous and observed quietly. The band had already been practising for a while, while the cast had been studying their roles on their own. This was the first time, they would fit the words with the live music.The cast was a bit restrained, even awkward, and yet there was laudable perseverance in their efforts. We were seeing the first careful steps.

There were some who were already striking early on. Jett Pangan showed the beginnings of a believable Pilate. Ely Buendia and Minco Fabregas were working on human characters. Rico Blanco was already giving Judas life and a rocking voice. The chemistry between him and Noel Cabangon as Jesus was something to look forward to.

Preview Night Settings

There is a reason why preview shows are called such.

The show’s three-night preview run was staged in Quezon City’s 70’s Bistro from April 17 to 19, 2000. It was cramped, crowded, hot and intimate. From the moment the venue was announced, there were concerns regarding the physical layout of the place. 70’s Bistro, after all, is not exactly the largest place around for either the stage performers or the audience.

During the three nights, the audience crammed themselves into every available space. The only areas left open were the provisional aisles used by the actors for the show. The play’s stage then literally became the whole of 70’s Bistro – from a ledge in a window, through the crowd, to a makeshift high platform, to the fixed stage.

Working with such a set-up, the audience became a part of the play as spectators in the story. Characters weaved through them, sometimes addressing them. And with such confined space, there were times when it was nearly impossible to see anything –- one had to strain to see, or resign oneself to listening. It almost felt intended.

But as it was the run of preview shows, mostly everything was scaled down, if only because of logistical constraints. In any case, it was more than just a run-through for the actual performance night on Black Saturday.

The Role of Actor-Musician

With its notable cast coming mostly from the music scene, the question that bugged everyone was whether they’d be able to act. They are musicians-– the challenge wasn’t really about their capability to perform the music, but really of portraying the roles.

Everyone’s first impression was that it was an interpretative concert. The cast with microphones in hand, sang their way through the show, with blocking and choreography. There was some unease for a few members of the cast, but there were some pleasant surprises as well. And that’s to say the least.

The conniving pair of Minco Fabregas’ suspicious Caiaphas and Darryl Shy’s almost roguish Annas worked wonderfully. When Minco hit those bass notes he astonished most who expected to hear the usual voice behind Pinwheel. Even more notable, was how he smoothly transitioned into acting–theater must truly run in his family’s blood.

Jett Pangan as Pilate commanded the stage with exquisite control of characterization and voice. Lito Crisostomo (who incidentally was also the lead guitarist of the production’s band) unexpectedly filled in for Domeng “Papa Dom” Gamboa and portrayed a fabulously gay Herod. His scene, predictably, turned out to be most entertaining, encouraging cheers from the audience. Cynthia Alexander’s Magdalene had her soul and emotions carried basically through a strong vocals.

Noel Cabangon was already on his second round as Jesus, as he had portrayed the role in the 70’s Bistro’s first production of Jesus Christ Superstar. Interestingly, aside from the vocal talent, he fit the role comfortably, convincing us that Jesus can indeed look Pinoy, doing away with mestizo stereotypes. His calm presence and quiet power were in contrast with the frenetic Judas that Rico Blanco brought to stage. Even at times when scenes called for an angry, upset or anxious Jesus, Noel satisfactorily sang with silent strength.

Rico’s Judas was distraught, confused, angry and tormented. For the demanding role that it was, Rico consistently remained in character – in and out of required scenes. He sang with the rock star edge, which reminded us that this was indeed a rock opera, although on the first few nights it was obvious that he was straining his voice. Word is, he was working with a sore throat.

Production Notes

Clearly missing were some members from the original cast lineup, notably Chito Miranda, Ely Buendia and Papa Dom Gamboa. Apparently, sometime during rehearsals, each had to withdraw for one reason or another. Stage thespians Jay Cruz and Julien Mendoza ably took over as Simon Zealot and Peter respectively.

While this particular production stayed loyal to the version most are familiar with (the movie version), the reason for staging the rock opera was not lost. True to form, Director Soxie Topacio, with Set Designer Egay Fernandez and Musical Director Vince de Jesus, brought in the alternative focus on the environment. According to Soxie: “[This play] this time is a protest against people who destroy the community. [It is] not attacking the Catholic Church but the people destroying the earth.”

In order to get the ideas across, a documentary film was used as a background at certain points in the show. It introduced and set the tone as the band played the overture at the show’s start.

The stage, props and costumes were strictly minimalist, the most significant prop being a little fisherman’s bangka (boat), which later served as the cross for the crucifixion scene. The costumes mixed contemporary plainfolk’s clothes with traditional religious attire.

The band, on the other hand, was rich in its composition, with musical director Vince de Jesus and Ehead Buddy Zabala on keyboards, Ang Grupong Pendong’s Jovi Abella on Bass, Tropical Depression’s Rene Tengasantos on drums and Lito Crisostomo on guitars.

The Black Saturday Performance

On Black Saturday, April 22, 2000, the production moved over to the Makati River Park Amphitheater in Guadalupe, Makati. It was the night of the “real” show. It was also Earth Day.

The clouds were overcast and the bleachers filled up early. For those who had gone to the Preview Shows, there was a perceptible change. There was much more space, for audience and the production. The stage was strikingly larger, and the main aisle through the bleachers became an extension of the stage. Everyone now had a clear view of all the proceedings.

When the show began, so much had improved since the last Bistro performance– from the dancers’ choreography, to the cast’s fluidity of movement to the band’s tight sound. Everything seemed to have magically fallen into place that evening.

The performance, for most parts, was seamless; everyone was now working more as part of a unified whole. The energy was high. Maybe because it was the final night, maybe because it was a different venue, maybe because instead of hand-held mics, headsets were provided. Whatever the reason, the cast was more confident, more at ease.

The play hit its climax at the crucifixion scene, and while the net was built and strung across the cross, the names of the recipients of the “Lason sa Ilog Pasig Awards” were being projected on the cyclorama. That scene eloquently wrapped up the theme presented and promised earlier.

The play ended with a concert-like staging of the finale, and the cast taking their bows. Receiving well-deserved standing ovations were Rico Blanco and Noel Cabangon.

It was one night when music clearly had a cause. And an event well deserving of an encore.

Published in Philmusic.com, 19 June 2000

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