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For almost years,
Jesus Christ Superstar
has proven as
enduring as
Tommy
with countless theatrical revivals, plus
an expansive
movie version starring Ted Neeley in the
title role. Most recently, on Easter Sunday, the NBC television
network presented a live, highly rated production starring
John Legend and Sara Bareilles. And in April, Chicago’s Lyric
Opera imported the stylishly reimagined, critically acclaimed,
and
Olivier Award–winning London production of the
musical by Timothy Sheader.
Perhaps a sign of their origin, though all these early rock
operas centered on religious doctrine, they questioned rather
than exalted: Tommy is a sense-deprived pinball player turned
accidental messiah; Bernstein’s Celebrant temporarily refutes
his foundations of faith; and Jesus Christ is recast as a hip-
pie savior “superstar.” Other groundbreaking, rock-themed
musicals of the era, like
Godspell
and
Hair
, also owed with
youthful expression, ower-power spirituality, and anti-estab-
lishment manifestos.
Re ecting on
Tommy
almost ve decades later, Daltrey
shared his thoughts about some of the album’s most revered
songs: “ ‘Amazing Journey’ was the nucleus as far as I was
concerned. It sticks in my brain as being the song about going
through life in this strange, other world.” He also cited his
a nity for “Eyesight to the Blind,” a song originally written
and recorded by blues great Sonny Boy Williamson in
and
adapted by Townshend for
Tommy
. “I like singing this prob-
ably most, out of all the things we’ve ever done. It’s incredibly
challenging, but at the end of it, it’s incredibly rewarding.
You always come o feeling emotionally good,” Daltrey said.
But upon hearing Townshend’s original demo version of the
eventual classic “Pinball Wizard,” Daltrey admitted, “I thought
it was too sweet [and needed] a bit more meat and potatoes,
which is what I gave it.”
Summarizing why
Tommy
was decisive in arousing e
Who’s audience and spurring a
new appreciation of the band,
Daltrey said, “It picked our au-
dience up and moved them into
being, ‘Wow, this is more. ere’s
something else going on here.’ ”
But McAnu , who directed the
Tommy
stage musical, lauded e
Who’s belter with perhaps the
de nitive compliment: “No one
will ever sing
Tommy
the way
Roger Daltrey did and does.”
James Turano is a freelance writer and
a former entertainment editor, feature
writer, and columnist for national and
local magazines and newspapers. He
has written official programs for eight
Elton John tours since 2003, and is also a
Chicago radio personality and host, heard
regularly on :*N Radio 20AM
Like
Tommy
,
Jesus
Christ Superstar
was called a “rock
opera” from its
beginning as a
concept album,
labeled as such on
the libretto (above)
that was sent to
Ravinia when the
festival booked a
pair of dates on its
concert tour in 1971,
before the Tim Rice
and Andrew Lloyd
Webber spectacular
even hit Broadway.
The touring cast
featured the same
singer who would
portray Jesus when
the show opened at
the Mark +ellinger
Theatre that fall,
Jeff Fenholt (left).
RAVINIA MAGAZINE | JUNE 18 – JULY 8, 2018
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