Adam Lambert finds a moment of respite on a rickety wooden chair just outside the main chapel of the Hollywood United Methodist Church.
He takes a break from rehearsing the musical “Jesus Christ Superstar,” dressed casually in beige shorts and a vest, complemented by his signature glittery eye makeup.
Despite the demanding nine-day rehearsal schedule, Lambert is calm and composed, attributing his relaxed demeanor to the remarkable professionalism of his fellow cast members and his deep-rooted familiarity with the musical’s iconic score.
Lambert recalls listening to the musical’s soundtrack on vinyl when he was just a child.
“I’ve always wanted to do that musical. I’ve always wanted to play Judas,” he shares with enthusiasm.
When he learned that acclaimed actress Cynthia Erivo was his co-star, playing Jesus, he exclaimed, “Wow, this is gonna be crazy.”
As a fan-favorite and “American Idol” runner-up, Lambert has enjoyed a flourishing career, particularly since he began collaborating with the iconic rock band Queen in 2011.
In the Hollywood Bowl production directed by Tony-winning choreographer Sergio Trujillo, Lambert portrays Judas, while Erivo takes on the role of Jesus.
Comedian and actor Josh Gad, who plays King Herod, affectionately referred to the ensemble as “the musical theater version of the Avengers,” citing Lambert, Erivo, and their talented co-stars.
The cast also includes Phillipa Soo as Mary Magdalene, Milo Manheim as Peter, Raúl Esparza as Pontius Pilate, Tyrone Huntley as Simon, Brian Justin Crum as Annas, and Zachary James as Caiaphas.
The sold-out shows run from Friday to Sunday, presenting a diverse cast that has ignited discussions on social media.
A queer, Black woman as Jesus and a gay man as Judas challenges traditional casting norms, especially in the current climate, where civil rights concerns are heightened in America.
“The challenge for the audience of seeing a female Black Jesus is so exciting,” Lambert notes, emphasizing the importance of the show’s teachings that transcend gender.
He continues, “Maybe it doesn’t have to do with male or female. I don’t really know if it matters what gender Jesus was because it was about the teachings and the love and the connection to faith.”
The themes of power dynamics, which were pivotal 2,000 years ago when Pontius Pilate ordered Jesus’ crucifixion, resonate profoundly in today’s narrative as well.
Gad reflects on his role, asserting that his character, King Herod, is inseparable from these themes, stating, “This is a man who’s so insecure he can’t afford to let Jesus out of his chains in order to actually face him without the help of soldiers around him.”
He hopes to portray the complex layers of hypocrisy inherent in Herod in a way that elicits laughter while provoking thought.
Originally released in 1970 as a concept album, “Jesus Christ Superstar” made its theatrical debut at the Hollywood Bowl in 1971, followed by a Broadway launch later that year.
Protests often surrounded its performances, yet its controversial nature only contributed to its success over the years.
Since the onset of the pandemic, major musicals at the Hollywood Bowl have been sparse, but the return of “Jesus Christ Superstar” marks a significant moment for the venue and its audience.
Meghan Umber, president of the Hollywood Bowl and chief programming officer at the Los Angeles Philharmonic, expressed their commitment to reinvigorating the summer musical tradition post-COVID.
“We wanted to make sure that when we came back, it was the most spectacular thing we could do,” she said, emphasizing the long-standing desire to stage this particular musical.
Brian Grohl, the associate director of programming for the L.A. Phil, noted how difficult it is to secure titles that can sustain a multi-night run at the Bowl.
He described the excitement within the team upon finalizing the production schedule, saying, “The number of titles that can sustain three nights at the Hollywood Bowl is a narrowed-down list already. Securing the title resulted in a lot of jumping and shouting around the office.”
Erivo’s acceptance to play Jesus solidified the casting of the rest of the ensemble.
Her talents have not gone unnoticed; Gad describes her as a “generational talent.”
Trujillo, who is directing the production, expressed immense respect for Erivo, stating, “I see the hand of God in her. Even now, me being in the room with her, I hear it and I see it, and it is transcendent.”
Trujillo opted for a minimalist approach, opting for a staging style reminiscent of the musical’s original roots as a concept album.
The production will feature a bare-bones rock concert aesthetic, utilizing black road boxes, microphones, and cords rather than elaborate scenic designs.
Contemporary costumes nod to the musical’s heritage, and a rhythm band will perform on stage alongside a 37-piece orchestra, creating a dynamic visual experience for the audience.
Keeping the show relevant and infused with the raw energy of youth culture was essential to Trujillo’s vision.
He asserted that the musical reflects the turbulent political climate, allowing audiences to connect with it on a deeper level.
“As I set up each one of the characters, they’re at a microphone singing, and then they take the microphone and step into the scene,” he explains.
“I always want to remind the audience that we are in a concert, but we’re also telling the story.”
This artistic blend is a collaborative effort, with every cast member fully committed to adequately honoring both the narrative and the score.
During a Saturday rehearsal in the church gym, Trujillo’s vision came alive.
The ensemble cast, dressed in casual attire, rehearsed the upbeat number “What’s the Buzz,” with Gad cheerfully cheering them on from the sidelines.
The rehearsals filled the room with laughter, camaraderie, and unmistakable excitement as Lambert delivered a compelling rendition of “Heaven on Their Minds” while Soo moved everyone with her emotional interpretation of “I Don’t Know How to Love Him.”
Lambert acknowledged the brilliance of the musical with newfound appreciation, stating, “The more time I spend with this musical, the more brilliant I understand it to be.”
Milo Manheim, who plays Peter, adds that understanding the timeless nature of the show is key, especially for younger audiences.
“It’s cross-generational,” Trujillo reinforces, illustrating that the musical is a gift passed down through the decades, continually resonating with each new audience.
The electricity of this cast and crew is palpable as they work together to create a landmark production that promises to leave audiences spellbound.
image source from：latimes
