Religion
Rice's superstar
Martin Sullivan
A great deal of heat has been engendered by the stage production, and now by the film, Jesus Christ Superstar. I do not intend to deal with either of these productions as such, but to give some facts about the origin of the work and to make some comments upon its content. The two writers, Andrew Lloyd-Webber and Tim Rice, were given permission, during a youth festival in St Paul's five years ago, to produce an opera which they had devised and composed under the title, Joseph and his Dreamcoat. It was the old story of Joseph and his many coloured coat and his brethren and their adventures as described in Genesis. It was not a particularly exciting work, but it was an interesting musical effort. The two authors subsequently sought me out and asked what my reaction would be if they attempted a rock opera on the life of Christ. Would the idea be blasphemous? I replied that I could not answer the question until I heard the finished work. They then asked if I would lend them some books on the subject. I 'refused, offering only the New Testament if they did not possess
a copy. It was their view, I explained, that must prevail and not another.
Some time later they approached me again and reported that they had made a beginning. Would I come and dine with them and hear what they had produced? Webber played and Rice sang the lyrics they had so tar completed. A, change had taken place in the plan. The life of Christ was too big a theme so they had decided to concentrate on His last seven days on earth. The opening chorus stridently asked of Christ who He was. How did He compare with Buddha and others? I agreed to write a commendation on the sleeve of the first recorded album, a step I now regret, because I am still receiving urgent letters from ardent young American evangelicals telling me who Christ is and asking me to pass on the news to the authors. The work was finally completed and received its first production on the stage in New York, and then came to the West End, followed by the recent premiere of the film.
The work is honest. Rice could not write of the Ressurrection because he is uncertain about it. Consequently only a hint appears. Both young men are agnostics or at least not convinced Christians. So the person and ministry of Christ are seen and reported upon from a particular angle. A love element between Him and Mary Magdalene is introduced and she sings a hauntingly plaintive song, 'I don't know how to love Him.' The thought comes to a mind like mine, 'Who does?' Jesus is a pale figure who seems to occupy the back rather than the front of the stage. Rice offers the curious explanation that he did this deliberately because Christ's work was at an end, He was under great pressure, and was fatigued_ Judas becomes the hero. This is a well known literary device. The hero of 'Paradise Lost' is not God but Satan alias John Milton. Significantly, in the film, Judas is black. The Last Supper and the Crucifixion spring to life from words to music to stage to film,
Why was this theme chosen by the two writers? Certainly not for overtly religious reasons; possibly because the drama was a powerful one, lending itself to bold treatment. That in itself is a 'tribute to the actual story and its effect upon us all. No one can tell what its presentation may say or do to those who take part in it or listen to it. We may look again at Christ because of Judas's betrayal. We may just hum the tunes and enjoy them and marvel at the breathtaking scenery in the film. Jesus Christ Superstar has earned a fortune for its authors.They won't resent it, I hope, if I remind them as they look at their bank balance who created it for them. The poor man of Galilee has filled them with good things. They must now be on their guard. He has the habit of sending the rich away empty handed,
Martin Sullivan is Dean of St Paul's and President of the London Tourist Board.
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