WHY I MADE THAT CHOICE

By James A. Rocco

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Revisiting Jesus Christ Superstar

I joined the Stage Directors and Choreographers Society (SDC) in 1990 when I was asked to mount a production of Jesus Christ Superstar that had begun at Paper Mill Playhouse, originally staged and directed by Robert Johansson and Susan Stroman. 

I had been an actor in the show, and with their blessing, I was asked to take what they had created and build on it with my own vision. Little did I know, this would be the start of a lifelong engagement with the show, revisiting and reimagining it with each production, always with deep gratitude and respect for Robert and Susan, who ignited a fire in me and gave me this gift.

Before those first rehearsals began, I came across a quote from Marcel Proust that resonated deeply with me and has accompanied me ever since:

"The true journey of discovery is not in seeking new landscapes but in having new eyes."

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Creating a Vision for the 21st Century

As I was closing my tenure as Producing Artistic Director at the Ordway Center for the Performing Arts, I was tasked with directing yet another production of Jesus Christ Superstar. This opportunity thrilled me, it had been a number of years since I had explored the show and it was an opportunity to create the show with a new team who would drive me to experiment with new ideas while in pushing the boundaries of this iconic musical.

Paul Whittaker (Scenic and Lighting Designer) and Mary Beth Gagner (Costume Designer) joined the team, each bringing fresh perspectives that sparked challenging conversations about how Jesus Christ Superstar has historically changed musical theater. When it first premiered, it was radical, rebellious, and edgy—characteristics that shocked audiences. 

As we questioned whether it could still do that today. Our goal became clear: to create a vision that represented the complex humanity of the 21st century, still deeply affected by the story.

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The Musical Revolution

Andrew Lloyd Webber and Tim Rice masterfully reflected the evolution of 20th-century pop music in their score, intentionally contrasting the revolution sparked by Jesus Christ with the traditional showbiz personified by King Herod. Herod, depicted as a flamboyant Vaudevillian, represents the old guard, while Jesus and Judas, as raw, organic rockers, symbolize the changing world.

In my research, I discovered that although Herod was called the "King of the Jews," he was not truly Jewish. Appointed by the Romans, Herod was more aligned with Greek culture and surrounded himself with sensuality, making him an Idumean—a Roman puppet, not a genuine Jew. This realization informed my approach to casting Herod, aiming to highlight the character's deceptive nature and flamboyant persona. Herod was not who he purported or seemed to be.  ‍

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Casting with a Purpose

Since the day I started making theatre I have been commitment to inclusive casting.  It grew out of an experience I had as a professional child actor in New York City in the turbulent 1960s (but that’s an entirely different story).  Suffice to say, since then I have been passionately driven to explore the human elements of each character, enriching the show's palette.  

The role of Herod, requiring a performer who can make an immediate impact, led me to Erin Schwab, an exceptionally talented actor in the Twin Cities. Erin possesses an uncanny ability to connect with audiences, breaking rules while creating authentic, dynamic characters. She is a force of nature, who breaks the rules while managing to create authentic characters who burst across the footlights into an audience’s soul.  She makes an impact even when she is playing a spear carrier.  You have to watch her.

Erin's casting as King Herod became a pivotal decision in translating the revolutionary spirit of Jesus Christ Superstar for 21st-century audiences. This casting not only challenged traditional gender roles but also highlighted the importance of diverse representation on stage.

For theatre to remain vital it must reflect the rich tapestry of our society. It makes it relevant and resonant.

Conclusion

In the evolving landscape of mainstream entertainment, where Jesus Christ Superstar may have lost some of its controversial edge, casting Erin as King Herod was a choice that redefined the production for contemporary audiences. It underscored the power of inclusive casting and the enduring relevance of this iconic musical.

I invite you to join us in this ongoing conversation about diversity in theater. Let's continue to push boundaries, celebrate different perspectives, and create a more inclusive and dynamic theater world.

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See you at the theatre,

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James Rocco

Director & Producer, Musical Theatre

CEO, Thirty Saints Productions