I was a bit stunned when I read a recent article that informed me the musical rock opera, “Jesus Christ Superstar,” is now fifty years old! Of course, that should not surprise me, since one factor of getting older means that everything happened longer ago than I thought. All that means is I am old enough to remember when it came out and made such a flash. I appreciated the article giving me a rehash of some of the early history which made me remember those earliest days of the rock opera. I also resolve to go see it again when I have that chance.
What I am sure I did not know was the first production of Jesus Christ Superstar happened on a college campus. Little Gettysburg College in Pennsylvania held an illegal production of the play on March 25, 1971. The article by Kathryn Post tells us, “The stripped-down, oratorio-style show was an entirely student-led endeavor featuring a physics major as music director and faculty members donning doctoral robes playing high priests.” Larry Recla, a seminar intern produced and directed the college production. Interestingly, during the rehearsal, a court order came prohibiting the play’s production. So, they decided to call it a “dress rehearsal” and not advertise it. However, 1,200 people came!
On October 12, 1971, the play opened on Broadway. Apparently, Andrew Lloyd Webber one of two who authored the play was not happy. Kathryn Post informs us, “The critics weren't thrilled — some called it brash, and Webber himself called it vulgar — but thanks to a $1,000,000 advance sale and the attention of religious protesters, the show was already a phenomenon.” I am not sure when I saw it, but it was early on. I was in seminary in Boston at the time and recall traveling to the Back Bay area of that city to see it in a theater. It was compelling. The music was riveting.
Post shares more information. She states that “the 1970 concept album was banned by BBC radio for being sacrilegious. The album met a different fate in the U.S., where it became the bestselling record of 1971.” In some ways it was a pioneer of the times. Again, Post helps me remember the late 60s and early 70s. Obviously, it was the time Vietnam was ending, the Civil Rights movement was still evolving, feminism was here to stay and so much more. The optimism and stability of the 50s seemed forever gone. My sense of those times is more of volatility disorder. All that was at the church’s door. Clearly, it was going to be a new age. But would it truly be the Age of Aquarius, from a slightly earlier rock musical, “Hair.”
Post gives us more information. “The album arrived just as Christian rock was beginning to emerge in the U.S. — Norman Greenbaum's ‘Spirit in the Sky’ was a chart-topper in 1970, and the Jesus People's Movement was blending the electric sounds of 1960s-counterculture with evangelicalism.” I am confident the lasting effect of the play will be the music. The story of Jesus Christ Superstar is an old story. The critics are right to point out there are some real discrepancies with the actual story---or stories---of Jesus in the gospel. Some critics were mad there was no resurrection in the play. Others point out the inadequacies of the portrayal of Mary Magdalene. I can overlook all that if I can still have the music.
I like that Post underscores the importance of asking questions, which seem central to much of the music. If we look at the lyrics in one of the songs, “Superstar,” these questions are posed. “Jesus Christ…Who are you? What have you sacrificed?…Who are you? What have you sacrificed?...Do you think you're what they say you are?...Do you think you're what they say you are?” Who are you? How many times I have asked that question! The church tries to tell us through the creeds and the like. But many of us want to know something more personal, something more relevant than ancient theology.
If the sacramental claim is correct, that the “real presence” is available to us here and now, then how will I know? Jesus, who are you? I wonder if a revival of that musical could do a good thing again? Probably not, is my guess. But maybe we can celebrate what it tried to do and encourage those gifted to do another, contemporary version of the gospel. Give us today’s Jesus. Maybe he will be a Superstar, but maybe he will come in a different form? He has real issues of our day to addressed.
Likely, it has to be some kind of musical, because music plays such a major role in the lives of people today---especially the young. Our age is crazy in new ways. I do think the old order is waning---typically kicking and screaming. We cannot get back before Black Lives Mattered, that we knew there was a climate challenge, when there was not LGBTQ to mess up our gender orderliness and so forth. Maybe we do need the challenge of another Superstar!
I appreciate that Kathryn Post ended her article by going back to the once-seminary intern, Larry Recla. Fascinatingly, he said he never went to see any other production of the play. Apparently, he was happy with his own production. In fact, he claims “the biggest miracle involved was the show itself. He then comments, "Being part of the show demonstrated what can happen when people of a variety of differences are of one mind with a mission…". How I long to be part of a diverse group of people with one mind and one mission. That sounds like the church at its very best. It would be a church inclusive beyond imagination. I like how Recla put his feelings about his play. "It meant that I would, for the rest of my life, believe in miracles."
What else would a Superstar do, except help us believe in miracles!
https://www.ncronline.org/news/culture/jesus-christ-superstar-controversial-musical-phenomenon-turns-50
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