There is no denying that when American musicals are performed by Italian artists we tend to approach them with some sort of mental reservation.

Those who have had the fortune of seeing the original versions in New York or London theatres are certain to preserve the memory of beautiful choreographies and resounding voices.
It must be said, however, that there have been great steps forward in recent years, and today audiences can now see first-rate productions. Jesus Christ Superstar, for example, currently playing in Milan’s Teatro Ventaglio Nazionale, does not fail to stir audiences with the same contrasting emotions of the film.
Although faithful to the movie, this production is far from being a mere imitation - it has a soul of its own, and shines in its own light.
The music performed live, with subtitles for those who don’t understand English, helps make the show an attraction for audiences.
Add to that a cast of excellent actors and dancers, and the success of the musical is easily explained. Paride Accaccia, for instance, delivers a “humanised” Jesus without falling into clichés, bringing Him closer to man but not farther from God, and Claudio Compagno does not make us miss Carl Anderson in the role of Judas. The fine choreographies, based on effects rather than lavishness, are studied to make the best of the available space on a stage that is smaller than those in London. Without detracting from the other actors, the one who contributes most to this musical is no doubt Olivia Cinquemani. In the role of Mary Magdalene, thanks to the beauty and the exceptional interpreting power of her voice, she conveys all the pathos of her character, whose part in the play is certainly more prominent than in the Gospels.
Mary seems closer to Jesus than the Apostles themselves, and her song “I Don’t Know How to Love Him” fully expresses her mixed feelings.
Cinquemani’s versatility is much to be appreciated: immediately after this production, she will remain at the Teatro Ventaglio Nazionale to star in another musical, playing one the most controversial female roles, Evita Peron.
(transl.by Interpres)