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 by
Jacqueline Monahan
jaxn8r@msn.com
Photos by Stephen Thorburn
Jesus Christ Superstar at
Spring Mountain Ranch State Park
Super Summer Theatre continues its 32nd season in conjunction with PS
Productions’ presentation of the musical, Jesus Christ Superstar. Based
on the Broadway play of the same name, Superstar will run on select days
through August 25 at Spring Mountain Ranch State Park. The Messiah
Himself appeared to a near-capacity crowd on the August 8 opening night.
Visually appealing, the production is an ambitious, exuberant and
decidedly loud but joyous journey into the last days of Our Lord, with
some modernizations thrown in to keep the ancient story timely.
Perhaps it is appropriate that the scenery in the park is such a prime
example of divine creation; the breathtaking mountains and native flora
lend itself to the belief in miracles.
The stage, complete with a 45 degree angled steel platform, including
revolving disc, trapdoors and appearing and disappearing steps makes for
a unique central character itself, as the cast, inadvertently dressed to
resemble the Hair tribe (hippies, gypsies and pirates) takes turns
rushing the stage or lying about; alternately emoting vehement love for
and shrieking criticism toward our man Jesus (Taylor Campbell).
Campbell, as the white gauze clad and sequined Savior is clean-shaven,
blond and short-haired, but has a celestially powerful voice and
demeanor of someone blessed with an uncommon grace.
Judas Iscariot (Keith Dotson, also the choreographer) turns in a
passionate, but mega-decibel vocal performance as the doomed turncoat
apostle. You could say that Judas’ torment comes out in a primal scream
of lyrics. Dotson is a multi-talented crowd favorite that possesses a
powerful stage presence, projecting conflict, derision and regret in a
smooth flow of calibrated emotion.
The exuberant supporting cast operates like clockwork and keeps the
proceedings running at a fast and precise pace. A round screen set well
downstage offered video images synchronized to the production’s scene
transitions. Onstage crowds were enhanced by more video faces, and the
famous photo, Eye of God is shown (you’ve all received the e-mail
showing this shot from space) when Jesus talks to his Father.
A novel way to show the scourging of Jesus takes place as the imaginary
blows fall on his back. The screen shows his name and as the blows fall,
a strip of red paint falls across the letters, thirty nine times in all.
Then, a multitude of hands reach in to smear the “blood”.
Pontius Pilate (Cory Benway) is a somewhat sympathetic martinet for Rome
complete with military uniform and boots. Benway’s interpretation makes
him just a tad prissy, but it works toward understanding the
politician’s narcissistic platform. Pompous King Herod, (Joe DeBenedetto)
searching for the next “Idol” is a flamboyant, hip-hop petty tyrant,
interested in Jesus as a marketing tool and novelty act. He’s got the
bling and the look of an Ali G, complete with harem-like entourage.
High priests Caiaphas (Carlos Emjay) and Annas (Brian Gressley) make
contrasting vocal bookends in their persecution of Jesus. Emjay’s bass
and Gressley’s near-falsetto play off the derisive lyrics with just the
right amount of self-righteous justification.
Original “comfort woman” Mary Magdalene has a somewhat shrill, operatic
singing voice that could well do with toning down and actually evoking
comfort instead of admonition. An attention to lyric enunciation would
help the audience follow the song-driven plot as well. Uncredited Mary
is simply included on the back cover of the program in a line which
reads: Special thanks to cast and crew members added after the
submission of this program. Since your humble correspondent will give
props freely to those willing to brave the footlights for the
entertainment of others, she applauds the sincerity with which Mary’s
role is portrayed by whoever she may be.
There is also a large ensemble cast of mixed gender apostles and
disciples which begs the question: what’s the difference between the two
designations? God only knows. The masses swarm, engulf, embrace and
decry Jesus, going through a range of emotions as easily as shifting
their wardrobes. There is dancing, and it is formidable. There is
singing and it is (mostly) a joyful noise, heaven-bound and knowing it.
Singled out is Jesus’ rock Peter (Greg Stokes) who makes a protective
shield for the Messiah against the ever-aggressive Judas. Stokes elicits
sympathy for the weak friend in denial, unable to stand by his love of
Jesus in the worst of times.
Producing Director Philip Shelburne is no stranger to the musical,
having such challenging productions as GodSpell, The Wiz, the rock opera
Tommy and Joseph and the Amazing Technicolor Dreamcoat under his belt.
His Superstar is full of capable actors, singers and dancers, bringing
the quality of stage presentation far beyond what you’d imagine for
outdoor musical theater.
The band plays non-stop for the entire ninety minute running time. There
is no dialogue here, everything is sung and must be accompanied. Kudos
go out to guitarists Dave Braun and Matt Baldoni, Bassist Adrian Garcia,
and Drummer Tony DeAugustine. The band manages to fill a state park with
sound and it is a testament to their musical stamina.
Super Summer Theatre is a nonprofit organization dedicated to bringing
low cost, high quality productions to the people of Southern Nevada. It
will hold upcoming performances and productions well into September at
Spring Mountain Ranch State Park. Getting there is easy. Take Charleston
until you run into the mountains, then look for the sign and turn right.
The remainder of the season will feature the Las Vegas Jazz Society,
September 7 & 8, and Johnny Guitar, September 13-22.
For further information, please visit:
http://www.supersummertheatre.com/
Pasta Palace in Palace
Station Offers More Than Its Name Implies
Voted Best of Las Vegas three years in a row, and with an average cost
of $15-$25, Pasta Palace is known among locals as the affordably
authentic Italian restaurant
With décor like a Roman villa and dimly lit chandeliers sporting bulbs
shaped like flowery champagne flutes, the atmosphere in Palace Station’s
Pasta Palace will lull you into the easygoing Italian attitude of
abundanza (abundance). There are no shortages here. Warm gold walls
adorned with food decorations or scenes of rustic country life add to
the ambiance, as does the large ceramic urn in the middle of the room.
Get comfortable and get ready to eat.
You’ll be grateful that the bread basket makes it to the table first.
Filled with focaccia and fresh baked rolls in the shape of thick tubes,
it gets passed rapidly and emptied in record time. Requests for refills
quickly follow. It is what ancient Roman soldiers lived on, after all,
and provides a fitting first bite.
The appetizer sampler sent from the kitchen came on a long 18” platter,
one entire side filled with fried Calamari and the other with a
combination of fried Mozzarella Marinara in triangles, Crabbed Stuffed
Mushrooms, topped with a parmesan cream sauce and Provolone cheese and
Artichoke Francese (hearts, egg battered and sautéed in a lemon butter
sauce). Since the squid outnumbered its compatriots four-to-one, the
latter three offerings disappeared much too quickly, sometimes without
finding their way the palate of the more laid back or those unfortunate
enough to be away on an ill-timed trip to the restroom.
Entrees such as Eggplant Parmesan and Veal Parmigiano drew raves for
their delicate breading which did not overpower the flavor of what it
surrounded. Salmon lovers may not appreciate the balsamic sauce covering
the plate in the Salmon Rustica dish. Unfortunately, a request for an
unadorned filet returned an unsatisfactory piece of fish in both taste
and smell.
Veal Piccata, and its cousin Pollo Piccata (chicken), arrived covered
with mushrooms, capers and shallots in a white wine butter sauce. One of
the specials of the day, Chicken Saltimboca, a prosciutto and
provolone-covered chicken breast in a white wine sauce, was a particular
hit, although the accompanying Garlic Mashed Potatoes was served in a
stiff breast-shaped piping that looked peculiarly gray and lacked any
type of palatable texture. Since you have the option of choosing a side
of pasta instead of the potatoes, you can bypass this experience. It’s
called Pasta Palace for a reason.
Other specialties include the 12-inch Four-Cheese Pizza, Fettucine
Pescatora (seafood in garlic and white wine sauce) and the ever-popular
Lasagna (not for Vegans, here, as it calls for Italian sausage and
beef).
When dessert rolled around, a passable Tiramisu was followed by a
spectacularly flavorful Spumoni.
Room Manager Chris, along with servers Armand and Claudia, share the
stage with the specialty dishes in this production. They are impeccable,
efficient and unobtrusive, helpful in menu selection and nearly
clairvoyant when it comes to drink refills.
Current promotions include the early bird special which offers
half point specials Sunday – Thursday, from 5 p.m.-6:30 p.m. and the All
You Can Eat Pasta for 7.99. Patrons choose from six different pastas and
six different sauces and the plates keep coming until you tell them to
stop. This is optimistically served with salad and bread, as if you’ll
have room. Pastabilities Everyday! is the tag line.
There’s something for everyone at Pasta Palace, and if a misstep is made
in preparation or customer satisfaction, there are several wait staff
and management personnel who demonstrate that they want to get it right
and make you happy. That attitude in itself is a little piece of Italy
which flourished right here in Las Vegas.
Pasta Palace
Palace Station
2411 W. Sahara Avenue
Las Vegas, NV 89102
For reservations, (optional) call (702) 221-6679
Sunday-Monday, Wednesday-Thursday 5 p.m.-10 p.m.
Tuesday 5 p.m.-9 p.m.
Friday and Saturday 5 p.m.-11 p.m.
http://www.palacestation.com/dining/pasta-palace
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