The year is 2009, and a 17-year-old Swiss-Indian girl belts her way to Etta James’ At Last, hoping for a shot in the coveted Singapore Idol competition. The girl – local singer Tabitha Nauser – 17 years later takes on the world of musicals in the production of Jesus Christ Superstar, playing in Sands Theatre until Sep 6.
Jesus Christ Superstar, written by Tim Rice and Andrew Lloyd Webber, is a rock-ballad musical that tells the story of Jesus Christ’s last days before his crucifixion. The play does not claim to be biblically accurate nor blasphemous but has led to major divisions in audiences. Still, the musical is heavily acclaimed for its soundtrack and theatrical difficulty.
She has been in productions and musicals before; however, this is one of her first large-scale productions. “To be a part of a production like this is such an honour for me, and I feel like I’m learning a lot of things from them as well. Because I feel like in this field of work, you don’t really stop learning,” said Ms Tabitha, who plays follower of Jesus, Mary Magdalene.
One of the aspects of musical training she learnt and wants to hone in on for her own songwriting is the act of doing less. This version of the show is more minimal, exchanging large sets and costumes for scaffolded arrangements and sweatpants. There are still some grand set pieces such as a giant light-up cross and sequined bodysuits, but it still feels stripped back.
“When it comes to showcasing something you always want to do the most, you want to put yourself out there,” she said, “But I’ve realised sometimes there is intimacy in doing less, and with this role in particular, and with the songs that I’m having to sing for this role, I’m realising that I don’t need to do all of that just because I can. It is actually sometimes stronger to pull back and to let the work speak for itself.”
While it may seem like Ms Tabitha gets overshadowed occasionally by her more musically trained castmates, she holds her own when she needs to, especially during some of the bigger moments of her solo song in the show, I Don’t Know How To Love Him. She also plays the sultry, disarming presence the role requires extremely well and contrasts with some of the more aggressive performers, specifically during the song Everything’s Alright.
The role was originated by Yvonne Elliman, a mixed Hawaiian actress, serendipitous with Ms Tabitha’s own mixed background.
“I am a Singaporean girl. I grew up in a household that is half-Indian half-Swiss, so how I view the world and my perspective is based on that,” she said. “As I’m older now, I don’t really feel the need to prove that I am Indian. How I interact with people, how I perform on stage, how I tell stories, it will reflect that because that’s just who I am.”
As a young mother of a two-year-old daughter, she said that she is also trying to navigate being an independent artist while raising a child. “If you’re an independent artist, and you’re trying to balance between the creative side and then having to be a responsible parent, it’s hard, because a lot of the time you push the creative part to the side. And I think, you know, it’s taken me a while to be able to find that balance again,” she said.
However, she still encourages artists going through the same thing and said that it takes time for the balance to reset. She also said that motherhood is actually helping her songwriting. “Since becoming a mother, I just get so emotional, and I feel like that helps with tapping into your creative side, being able to feel other people’s emotions so easily, being in tune with other people,” said Ms Tabitha.
Everything’s (Better Than) Alright
Mary Roy, mother of writer and activist Arundhati Roy, fought a 25-year-long battle against her district’s administration in Kerala after her proposed performance of Jesus Christ Superstar in her school was banned mere minutes before it began.
So, it is safe to say that Jesus Christ Superstar has always been a contentious production. However, this current production’s minimalism allows for the vocal feat and performance to overtake any controversy.
The dances are mesmerising, and you can see the physical toll it takes on the performers as they whip their limbs with all their might. The transformation of mundane items such as electric cables and speaker stands into ropes, and a cross, proves Ms Tabitha’s previous point about doing less but having a large impact.
But by far the highlight is the vocal performances. This is likely some of the best singing I have ever heard at the Sands Theatre. Right from the start, you have Freddie Mercurian belts and high notes accompanied by a haunting orchestra, and truly the music doesn’t stop until the curtain call. Your ears will hear every ounce of the pain of the battered and bruised Jesus or the exhaustion of the betraying Judas.
Regardless of the divisiveness, the production is a marvel. If you can see the show for what it is at its heart, the tale of a rockstar’s demise, then you should go for the electrifying music.
Jesus Christ Superstar is playing at the Sands Theatre until Sep 6, from Tuesday to Sunday. You can book your tickets, starting at S$58++, on marinabaysands.com.
