Part Jesus Christ Superstar, part Neal Morse concept album, He Rules the World began its four-night/five-performance run last night at Waco’s Hippodrome Theater.
With lights, animation, and narration by Kevin Sorbo, the Christmas story came to life in an energetic, jamming, theatrical, dramatic, and sometimes tender way.
The five-man band (made up of guitarists Billy Blunt and Eli Menezes, bassist Matthew Weatherly, drummer Charles Reid, and keyboardist Peter Emerson) laid down a solid groove the entire night, only easing up on the energy when the songs demanded a tender, contemplative moment, like Mary wrestling with her vision or Joseph wrestling with his unexpected circumstances.
Having seen this show in their Christmas in July performance earlier this year made this performance even better. Hearing these songs for the second time made them come alive for me more. I was able to concentrate and feel their intention, story, and melody with greater appreciation. I guess any time you hear a song for the first time your brain only has so much information it can digest.
The rolling keyboards had a bounce to them that was parts Hammond B3 organ and parts new wave. They sounded fun and grooving.
While some of the faster numbers reminded me of Jesus Christ Superstar with its rock opera energy and storytelling elements, I was attracted more to the slower, more dynamic songs, like “Let All Mortal Flesh Keep Silence,” because it’s easier to follow Joseph’s journey and the warning message from the angel to flee to Egypt.
Harder to follow tunes were the faster ones where the vocals sometimes competed with the rockin’ rhythms beneath. It’s full of energy but doesn’t have the knockout punch of the moments when the musical bed drops out slightly and the vocals soar above the mix loud and clear. One example of this “Angels, from the Realms of Glory,” which drove speedily along with early 70s guitar tones, then stepped down for Mary’s heartfelt cries of “Why me? Just I’m just a girl from Galilee.” It’s poignant and well-timed.
While the band certainly held its own all night, the vocalists really shined in several moments. Celia Arthur, who sang the parts of Mary convincingly with power and projection, also brought superb acting skills, using facial expressions to evoke the emotions even deeper. Emery Gray also stood out many times, showing off an incredible range and powerful lungs that held notes that deserve a standing ovation. They both rocked it. Alex Bumpas brought the character of King Herod to life by strolling out in a black leather jacket, exuding toughness and rage. David Gaschen expressed much emotion with his eyes, stage movements, and powerful voice. The way he went from anguish to tender singing to his Mary was touching and endearing.
The lyrics are brilliant. Like the amazing Chosen series, songwriter Peter Emerson fills in the gaps from the biblical narrative facts with the humanizing details of how this must have felt to those involved. Certain thematic gems stood out to me from this show, including the generous and pre-ordained provision God gave to Joseph’s family with those gifts of gold, frankincense, and myrrh, which afforded a simple carpenter the funds necessary for an emergency trip and long stay in Egypt.
Another was how Joseph fell asleep after deciding in his mind what he would do with his presumed unfaithful fiancé. This matter was settled as far as he was concerned (at least in this dramatized telling), which makes the angelic visitation seem all the more necessary in this complex and troubling scenerio.
Also unique was the innkeeper’s viewpoint, which was portrayed in “The Innkeeper – Away in a Manger.”
A brand-new song was added to the musical since last year and last summer’s versions – “O Holy Night,” which started off with searing guitars from Blunt and Menezes. Emery Gray does a killer job of bringing this hybrid of beloved Christmas carol and modern song.
While we don’t have a drum or bass solo, the guitars took center stage a few times (the interlude of “Patapan” between “Let All Mortal Flesh Keep Silence” and “Sing We Now of Christmas”) as did the keytar, which dazzled with layers of prog rock, flash, and fun.
Even with an intermission, it was all over too fast. It could be the fastest two hours of Christmas this season, but that really means it was fun.
While various moments of this smart rock opera stir emotions and might wring a tear out of audience members, I was struck by the power and authority of narrator Kevin Sorbo when he juxtaposed the meekness and humility of the Christ child with the impact that this one man has had on the entire world. Without the pretense of a typical evangelical production, the big screen lit up with the evidence and fruit of this one Man by listing the qualities that even non-believers revere – love thy neightbor, don’t worry about tomorrow, serve others, love your enemies, do unto others what you would have them do unto you, and give freely.
What is it about this one Man that doesn’t get ignored, even after 2,000 years.
Like any good entertainment (especially at Christmas), it makes one feel glad to be alive … and clearly answers the opening question: “What is Christmas.” You might leave the show singing that chorus, but you won’t be leaving without knowing what it’s all about.
If you have the chance to see this show this week, don’t miss it. Tickets are available here.
Comments