The Ultrasonic Rock Orchestra just played a successful run of Jesus Christ Superstar at the Norwood Theatre. The small but classy theater in Norwood, Massachusetts was rocked from the rows to its rafters with this intense but nuanced production of the Andrew Lloyd Webber/Tim Rice rock opera.After performing as the Ultrasonic Rock Orchestra for almost ten years and with previous productions and a recording of the rock opera under their belts, this group of local Boston area singers and musicians confidently and skillfully brought to life the last days of Jesus Christ. Many fine moments drew hugely enthusiastic responses from the crowd.
The “Overture” opened the show with a feeling of serious drama in its foreboding keyboard melodies and edgy guitar rhythms. Huge thematic sweeps of orchestrated music cascaded out of the perfect sound system, every player touching his subtle nuances. Segue into “Heaven On Their Minds” with URO lead Sal Clemente singing the role of Judas. Clemente gave a powerful rock vocalist performance with his muscular sustains and rocker’s belt. He made one feel the anxiety of his character during a time of dangerous uncertainty. Clemente nailed the part again in “Damned For All Time/Blood Money.” Singing over feisty edgy guitars and fluty keyboards with their foreboding tones, Clemente was believably conflicted and ecstatic.
Vocalist Kyle Martin made his interpretation of Jesus Christ feel and sound natural, with plaintive appeals to his followers and also with his strong rebuke of Judas after judging Mary Magdalene for her profession. This came during the “What’s The Buzz/Strange Thing Mystifying” portion in which the interplay between those three characters was beautifully rendered, vocally as well as dramatically.Fatima Elmi ruled the next part of the scene with her sweet rendition of “Everything’s All Right.” Elmi turned in an exceptionally fine performance of “I Don’t Know How To Love Him” Her ambivalence between love and uncertainty began as a simmering tension just below the surface until it erupted with Mary’s exceptionally pretty vocal lines, celebrating the discovery of a new kind of love that had until then eluded her. Elmi stunned many into breathlessness with her delivery. You could hear the audience gasp in amazement.
The haunting, foreboding number “This Jesus Must Die” found URO new comer Andrew Schwartz sending chills down the audiences spine with his creepy, menacing baritone lead vocal. Now only did Schwartz have the timbre down pat, he meant business as he expressed a patriotic need to silence Jesus for the sake of the nation. Drummer Alan Ware and bassist Doug Crawford injected more of an R&B rhythmic groove to this number, making it soulfully danceable underneath the dark objective coming from the vocalist.
The “Hosanna” chorus was beautifully fleshed out with the large ensemble giving it their all, Wide sweeps and subtle nuances made the crowd feel like singing along with its spiritual ebullience. The intricate vocal work still stands out among the URO’s many other musical accomplishments, and it was a joy each time they returned to sing together in their multi-layered harmonies.Although she was the first Simon this reviewer has even seen in fishnets, Christie Beaulieu rocked the house with her feisty delivery of “Simon Zealotes/Poor Jerusalem.” Her soulful, bluesy vocal interpretation made you feel the zeal of her character’s devotion to Christ as well her not so subtle urgings to move his flock into a more political direction. Jesus’s retort was another fine moment, as Martin sounded mournful and wistful over a forlorn piano line.
Just when you thought you saw all of the best talent in the show, Anthony Correia turned in a soul-stirring rendition of “Pilate’s Dream.” Correia not only sounded perfect technically, he made you feel the impending weight that he’d soon be forced to carry. Correia came back strong in “Pilate And Christ,” his swaggering arrogance and false bravado masking his trepidation over his unwanted role in the inevitable events to come.
The intense “Temple/Lepers” scene allowed Christ’s inner turmoil to explode outward as he rebuked his followers for becoming merchants, and, as he lost his patience with masses who sought his help, screaming the infamous “heal yourselves” response. Beaulieu and chorus singer Yasmin Solomon rolled right on it with their desperate exhortations for salvations, fine dramatic flair.“The Last Supper” and “Gethsemane(I Only Want To Say) were marked by the fine nuances of the chorus singing about “all my trials and tribulations” as well as the conversational song between Jesus and Judas, both mournful and conflicted about the ending of their friendship and the impending end of their movement.
Keyboardist Ernie Cataldo came forward from the band to rock things up vocally as Peter. His seasoned voice allowed him to handle the musical delivery and dramatic tension well. It also gave second keyboardist Andrew Malone a chance to conjure some of the show’s musical highlights on his own.
Judas’s dark eerie repentance in the number “Judas’ Death” was chilling, especially as the chorus, singing in a minor key, bid him farewell. Other fine moments came during the exchanges “Pilate And Christ.” You could feel the tension in Pilate as he sang out his frightful frustration.
There were a few minor problems in this production. The individual crowd members got a bit lost in the mix during “The Arrest” as they imitated and mocked the modern day press core. And, singer Yasmin Solomon has too much stage charisma for a chorus part and was sadly and glaringly under utilized.
Yet, nothing could stifle the over the top talent of the singers, musicians, and technical crew. This production barreled forward with unstoppable zeal. Audience members had to be feeling an emotional response to the many tense and tender dramatic moments and impressive musical performances. Guitarist Clinton Degan whipped up many fine lead phrases(and played a great Annas) and Michael Leonard was at once likable and sarcastic as King Herod. Backing singers Maria Clemente and Ashlie Yarnell filled in their parts well. The URO should be able to tour small local theaters throughout New England with their production of “Jesus Christ Superstar.”
