How Long Is Jesus Christ Superstar Musical

Jesus Christ Superstar

Those interested in purchasing group tickets for ten or more people can do so by calling Broadway In Chicago Group Sales at (312) 977-1710.

  • Running at the Cadillac Palace Theatre from July 19 through December 31, 2022
  • Running time: 90 minutes with no intermission.

Our audiences are compelled to wear masks throughout our performances. Other criteria may be introduced or eased as a result of the changing guideline environment. Visitbroadwayinchicago.com/covid19 for further information. It was a record that spurred on a REVOLUTION. A DISCOVERY that altered the course of history. A REINVENTION for the millenium that is now under progress. Jesus Christ Superstar is a legendary musical phenomenon with a devoted following across the world. A new fascinating production is coming to North America to commemorate the 50th anniversary of the company.

The production is currently touring the United States and Canada.

The musical Jesus Christ Superstar, with music by Andrew Lloyd Webber and lyrics by Tim Rice, is set against the backdrop of an astonishing series of events during the last weeks of Jesus Christ’s life, as seen through the eyes of Judas Iscariot.

The renowned score included songs such as ‘I Don’t Know How to Love Him,’ ‘Gethsemane,’ and ‘Superstar,’ all of which reflect the rock roots that defined a generation.

JESUS CHRIST SUPERSTAR is suited for children aged ten and up.

Jesus Christ Superstar

What’s the big deal? Jesus Christ Superstar, the first musical by Andrew Lloyd Webber and Tim Rice to be created for the professional stage, has astonished audiences for more than 40 years. The rock opera, which is a timeless masterpiece, is set against the backdrop of an astonishing and universally-known chain of events, but it is viewed through the eyes of Judas Iscariot, which is a first for the genre. Superstar, which is loosely based on the Gospels of Matthew, Mark, Luke, and John, follows Jesus Christ during his last week on earth.

Some of the most well-known songs from the film’s famous 1970s rock score include “Superstar,” “I Don’t Know How to Love Him,” and “Gethsemane.” Superstar, a real worldwide phenomenon that is a great choice for schools, community theaters, and professionals alike, continues to inspire new generations of audiences and artists with each performance.

  • Given that no one was interested in supporting their proposal for a stage play, the duo began by recording the song “Superstar,” which was sung by Murray Head, at the end of 1969.
  • The record’s enormous commercial success (the album peaked at number one) sparked widespread interest in seeing it performed live, andJesus Christ Superstardebuted on Broadway at the Mark Hellinger Theatre in October 1971.
  • The next year, the production in the United Kingdom opened, with Paul Nicholas in the lead role.
  • In addition to its three Broadway revivals, the most recent of which took place in 2012, Superstar was most recently performed in London in a multi-award-winning Regent’s Park Open Air Theatre production at the Barbican in 2019.

On Easter Sunday, April 1, 2018, NBC broadcasted a live concert version of the show, which featured John Legend in the role of Jesus, Sara Bareilles in the role of Mary Magdalene, Brandon Victor Dixon in the role of Judas, Alice Cooper in the role of King Herod, Norm Lewis in the role of Caiaphas and Ben Daniels in the role of Pilate.

  • “With God on Our Side” is a song about the life of Judas Iscariot.
  • Rice was not the subject of the article; instead, it was the outcome of a journalist’s prank during an interview with Rice.
  • Meanwhile, several radio stations in the United States broadcast the entire double album without intermission.
  • Agnetha Fältskog, a member of the Swedish pop group ABBA, played Mary Magdalene in the 1972 performance.

He termed the show Superstart. Ben Forster was victorious. scribe for Matilda and the Groundhog Day Judas was played by Tim Minchin, and Mary was represented by Melanie C of the Spice Girls.

Jesus Christ Superstar at Golden Gate Theatre

Broadway ProductionsMusicals

Who are you? What have you sacrificed?

This Olivier Award-winning new production of Andrew Lloyd Webber and Tim Rice’s breakthrough musical, which just completed a successful run in London, continues to dazzle audiences on tour. Director Timothy Sheader adapts the biblical tale to the 21st century with a rousing rock and funk score, removing the more exaggerated elements of the original production to create a genuinely rocking production. The show, which began life as a concept album in 1970, was ALW’s first Broadway production, debuting in New York City in 1971 before moving on to London the following year.

What is Jesus Christ Superstar About?

Jesus Christ Superstar is a dramatic rock opera based on the Gospels that chronicles the last week of Jesus’ life, with a strong emphasis on his connection with Judas Iscariot. This show, which is imbued with contemporary sensibilities as well as contemporary political and social themes, is about a very human Jesus Christ, who must come to terms with his impending death.

Dates

Opening night is scheduled for October 13, 2021.

Audience

Two hours and ten minutes have elapsed.

COVID 19 SECURE

It is possible that you will be needed to have had a COVID vaccination or to have documentation of a negative test in order to attend this performance. More information about this may be obtained by contacting the venue directly.

Cast

Aaron LaVigne takes on the role of Jesus. Judas is played by James Delisco Beeks. Caiphas is played by Jenna Rubaii in the role of Mary Alvin Crawford. Pilate is played by Tommy Sherlock. Annas is played by Tyce Green. Jesus and Judas are represented by Christian A. Guerrero on the sidelines. Ensemble There are a total of 15 actors in the cast: David Andre, Sara Andreas, Courtney Arango, Wesley J. Barnes, Milena J. Comeau, Lydia Ruth Dawson, Derek Ferguson, Brian Golub, Brittany Rose Hammond, Garfield Hammonds, Quiana Holmes, Darrell T.

Creative

Andrew Lloyd Webber composed the music. Tim Rice wrote the lyrics for this song. Timothy Sheader is in charge of the direction.

Nearby

The venue’s address, location, dining establishments, and hotels

Additional Information

SeatingPlanning your seating

Spread the word

Does it sound nice to you? Share this page on social media to let your friends and family know about Jesus Christ Superstar at Golden Gate Theatre in San Francisco. The terms Golden Gate Theatre and Jesus Christ Superstar, along with all associated graphics, logos, and/or other trademarks, trade names, or copyright are the property of the Golden Gate Theatre and/or Jesus Christ Superstar, and are used herein solely to provide factual descriptive information about the companies and their products and services.

Neither the Golden Gate Theatre nor Jesus Christ Superstar have approved or supported us in any manner, and neither that business nor any of its affiliates have licensed or endorsed us to offer tickets, merchandise, or services in association with their events.

Jesus Christ Superstar

This website makes use of cookies and other similar technologies in order to provide you with a better browsing experience, monitor site traffic, and tailor content for you. By continuing to use this website after clicking “I Accept” on this banner, you are indicating your agreement to the usage of cookies. More information on how we use cookies may be found in our Privacy Notice. Segerstrom Hall is the location for this event. Tickets start at $40.00 and go up from there. In the words of the New York Times, it was “an adrenaline-pumping production.” It was a record that spurred on a REVOLUTION.

  • A REINVENTION for the millenium that is now under progress.
  • This performance, which will appeal to both theatergoers and concert music aficionados, pays homage to the historic 1971 Billboard Album of the Year while also presenting a modern, dramatic setting that is both innovative and exciting.
  • The renowned score included songs such as ‘I Don’t Know How to Love Him,’ ‘Gethsemane,’ and ‘Superstar,’ all of which reflect the rock roots that defined a generation.
  • We are thrilled to be able to provide this special bundle and to collaborate with our new neighbor, the Collage at Bloomingdale’s, on this project.
  • It has SOLD OUT for our 8:00 p.m.
  • Our sincere thanks for your positive response to these packages; we will make every effort to collaborate with other establishments in the future!
  • Duration (approximately): 1 hour and 30 minutes without an intermission All ticket holders must wear a mask and provide confirmation of complete immunization against COVID-19, or a negative COVID-19 PCR test taken within 72 hours of the performance, in order to enter the theater.

Program Info

WHAT METHOD WILL I USE TO RECEIVE MY TICKETS? We recommend that you choose for mobile tickets as your mode of delivery in order to avoid having to enter your information manually. Using a mobile device, you may show your mobile tickets, print them, or access them using the Mirvish App. Tickets can be ordered over the mail or picked up at the Box Office. Please double-check the Box Office hours before making your way to the theater. Is it necessary to wear masks at the theatre? During their visit to the theatre, all guests and personnel will be forced to wear a mask that completely covers their nose, mouth, and chin at all times during their stay.

It is not permissible to use neck gaiters or bandannas.

Yes, confirmation of immunization in its whole is necessary.

Proof of Vaccination is required. Each and every patron who is 12 years of age or older must be properly vaccinated before entering the theatre and must provide the following papers with them:

  • It is necessary to have received the entire series of a World Health Organization (WHO) approved COVID-19 vaccine or a combination of authorized vaccinations at least 14 days previous to the performance date. Information may be shown on a mobile device or printed out in its entirety. Customers who had their vaccinations in Ontario can view their records at covid19.ontariohealth.ca
  • For patrons who obtained their immunizations outside of Ontario, papers can be accessible at covid19.ontariohealth.ca. Identification from the government (such as a driver’s license, health card, or passport) that corresponds to the evidence of complete immunization documents
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Children under the age of 12 are not permitted.

  • Children under the age of 12 must have a negative COVID-19 rapid antigen test performed by a healthcare practitioner within 72 hours of the performance start time in order to participate in the performance. A variety of rapid antigen tests are offered at Shoppers Drug Mart. Attempts to administer self-administered home tests will not be allowed.

Exemptions for Medical Reasons

  • Patients unable to get vaccinations due to medical reasons must submit documented documentation of the cause, supplied by either a physician or a nurse practitioner, as well as a completed COVID-19 medical exemption form to the vaccination station. Patrons who are unable to be vaccinated due to their religious or creed beliefs must present a letter from a religious or creed leader outlining their affiliation with the religion or creed and the reason for their refusal to be vaccinated, as well as a completed COVID-19 religious or creed exemption form. Audience participation forms may be acquired by contacting [email protected]. Additional documentation, such as a negative COVID-19 quick antigen test from a healthcare professional performed within 72 hours of the performance start time, must be submitted with the documentation. At-home exams conducted by the participant will not be approved. The admission of those who are unable to submit this documentation will be denied.

Patrons who are unable to produce this documentation will be denied admission. WHAT EXTERNAL SAFETY MEASURES ARE YOU PLANNING TO INSTALL? It will provide comfort to our audiences to know that new safety measures have been implemented, including the requirement that all staff and patrons be fully vaccinated, enhanced cleaning procedures, sanitization stations strategically placed throughout the theatres, and state-of-the-art ventilation systems to ensure a robust exchange of fresh air. For additional details, please see ourAudience Safety Measures page.

  • What amenities will be available at the theatre?
  • The coat check service is now available.
  • Do not enter the theatre if you or any member of your party is under quarantine or isolation, if you have come into contact with someone who has COVID-19, if you are experiencing any symptoms of COVID-19, or if you have tested positive for COVID-19.
  • Please contact Audience Services by phone at 1.800.461.3333 or by email at [email protected].
  • In compliance with our privacy policy, all information obtained for the purpose of selling a ticket or locating a contact will be kept on file.

Jesus Christ Superstar

Jesus Christ Superstar is a timeless masterpiece that has stunned audiences across the world for more than 40 years. It is set against the backdrop of an astounding and universally-known chain of events, but it is viewed through the eyes of Judas Iscariot. The tale, which is recounted entirely via song, delves into the personal connections and hardships of Jesus, Judas, Mary Magdalene, his disciples, his supporters, and the Roman Empire, among others. Some of the most well-known songs from the film’s famous 1970s rock score include “Superstar,” “I Don’t Know How to Love Him,” and “Gethsemane.” After being published as a concept album, the musical was staged at the Mark Hellinger Theatre on Broadway in 1971 and ran for three seasons.

It had become the longest-running musical in the history of the West End by the time it ended, having played 3,358 performances by the time it closed.

There have been two film versions of the book: the first, starring Ted Neely, Carl Anderson, and Yvonne Elliman, was produced in 1973, and the second, with Glenn Carter as Jesus and Jérôme Pradon as Judas, was filmed in 2000.

Review: A brisk ‘Jesus Christ Superstar’ marks the return of Broadway at the Paramount

The explosion of acclaim that greeted the event before it even began served as the first indicator that this was not just ordinary performance at the Paramount Theatre. A lot of it was directed at technical director Mike Miles, who welcomed the audience and praised everyone who worked to ensure that the nonprofit theater could return after having gone 19 months and four days without putting on a Broadway show. The rock opera “Jesus Christ Superstar,” written by Tim Rice and Andrew Lloyd Webber, is the performance that kicks off Miles’ 50 thseason at the Paramount Theatre, which is a fitting tribute.

Seattle is the second destination on the relaunched tour, which began with a performance in Portland last week and was originally scheduled as part of the canceled 2020-21 Broadway at The Paramount season.

The rock opera

“Jesus Christ Superstar” is a musical that depicts the final days of Jesus’ life. There are significant biblical events including the Last Supper, praying in Gethsemane, Judas’ betrayal, and Jesus’ crucifixion depicted in this film. However, the opera avoids theological orthodoxy in favor of an emphasis on interpersonal connections, notably the fractured friendship between Jesus and Judas. In 1970, the concept of a rock opera with a religious theme was a difficult sell. As a result, the initial edition of “Jesus Christ Superstar” was a double CD featuring Ian Gillan of Deep Purple in the role of Jesus.

50 thanniversary tour

Production for the North American tour, which commemorates the 50th anniversary of the concept album, is handled by Stephen Gabriel and Work Light Productions. Timothy Sheader directs the production, which opened in Regent’s Park Open Air Theatre in London in 2016, where it won an Olivier Award for Best New Musical. In the style of an unfinished skyscraper, the set is harsh and industrial, with most of the action taking place on the stage floor and the orchestra spread out on the second level.

Bright white lights that change from intense backlighting to halo glow aid in the telling of the tale.

In this “Superstar,” there are a plethora of visual dualities: Pilate’s all-black suit and electric guitar stand in stark contrast to Jesus’ white robes and acoustic guitar; Jesus’ real blood, depicted by gold glitter, stands in stark contrast to the metaphorical blood, painted in silver on Judas’ hands.

The cast

Each and every member of this ensemble delivers huge lines in “Jesus Christ Superstar,” which necessitates them pulling out all the stops on their performances. But, maybe more crucially, they know when to take a breath and relax. This cast, more than any other rendition I’ve seen, infused emotional depth into the quiet moments and in-between lines of the play. Aaron LaVigne’s Jesus in the 1973 film has a heavy-metal scream that is reminiscent of Ted Neeley’s performance, but he also has a sweet tenor that is appropriate for more introspective periods.

James T.

His death deserves to be counted among the greatest insane sequences in the history of opera, and Jenna Rubaii’s voice evokes Mary Magdalene’s delicacy with a tear-jerking impact.

Alvin Crawford exhibited a far more range than is typical for Caiaphas’ bass, yet remaining wonderfully subterranean when he suggested “a more permanent solution” to the situation. Before he ever sung a note, Paul Louis Lessard’s Herod elicited applause and amusement from the audience.

Pandemic-adapted theater

Given that this play is 15 minutes shorter than normal, the nuanced performances are all the more impressive. Some good moments (including a remarkable sax solo) were unnoticed as the show moved from one scene to the next without stop, as if it were a Wagner opera. A little more breathing room would have been welcome. The 90-minute running period without an intermission, on the other hand, makes forced disguising less difficult. Additionally, all ticket holders are required to show proof of vaccination; children under the age of 12 and people with a medical condition or sincerely held religious belief that prevents vaccination are permitted entry if they provide proof of a negative coronavirus PCR test performed within 48 hours of the performance’s start time.

A negative coronavirus PCR test taken within 48 hours of show start time is required for those who are unable to be vaccinated; 206-682-1414, stgpresents.org.

It will be performed at 911 Pine St.

Gemma Alexander is a freelance writer located in Seattle, and her website is gemmadeealexander.com.

Jesus Christ Superstar

What’s the big deal? Jesus Christ Superstar, the first musical by Andrew Lloyd Webber and Tim Rice to be created for the professional stage, has astonished audiences for more than 40 years. The rock opera, which is a timeless masterpiece, is set against the backdrop of an astonishing and universally-known chain of events, but it is viewed through the eyes of Judas Iscariot, which is a first for the genre. Superstar, which is loosely based on the Gospels of Matthew, Mark, Luke, and John, follows Jesus Christ during his last week on earth.

Some of the most well-known songs from the film’s classic 1970s rock score are ” Superstar,” ” I Don’t Know How to Love Him,” and ” Gethsemane.” Rating from the audience: Choose a performance date from the drop-down menu below:

  • Saturday, March 268:00PM
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  • Wednesday, April 67:30PM
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‘Jesus Christ Superstar’: The controversial musical phenomenon turns 50

— The Royal National Society (RNS) On March 25, 1971, a tiny, private Lutheran college in Gettysburg, Pennsylvania, staged an unlawful production of Andrew Lloyd Webber and Tim Rice’s rock opera “Jesus Christ Superstar,” which was directed by Tim Rice. All students were involved in the production of the stripped-down, oratorio-style concert, which featured a physics major as music director and faculty members dressed in doctorate gowns as high priests. ‘I don’t know how to read music, and I don’t consider myself a musician,’ Larry Recla, the seminary intern who produced and directed the Gettysburg College play, said.

After only a few weeks of rehearsal, the group learned that a court order had been issued barring amateur companies from presenting the performance due to copyright violations.

Although there was no written advertising, the concert drew more than 1,200 people, many of whom sat on windowsills or waited outside to hear the drums and electric organ.

“People were unable to sit still; they were on their feet yelling and screaming.” The ovation that greeted each performance lasted around 10-15 minutes.” The Broadway production of “Jesus Christ Superstar” debuted on October 12, 1971, after several months of dazzling, over-the-top preparations.

This month, the show will mark its 50th anniversary on the air.

In the United States, however, the album was met with a different destiny, becoming the year’s best-selling album.

: The Bootleg Superstar of Gettysburg College.” A lot of youngsters felt or wanted to feel a religious urge, and this activity kept their bodies moving and minds working while also connecting them with that religious desire.” The original album, which included songs such as “I Don’t Know How to Love Him” and “Superstar,” used rock-infused Broadway melodies to tell the story of Jesus’ betrayal and crucifixion in the week leading up to his death, all told from the perspective of the betraying disciple Judas.

Several amateur performances of the musical were staged in response to the blockbuster record, which took place prior to the Broadway production’s debut.

(Photo courtesy of AP) ‘Jesus Christ Superstar’ was released at a time when Christian rock was starting to gain traction in the United States — Norman Greenbaum’s “Spirit in the Sky” was a hit single in 1970, and the Jesus People’s Movement was fusing the electric sounds of 1960s-counterculture with evangelicalism — and it hit the sweet spot: ‘It was literally the first time that a genuinely Christian message was delivered via rock and roll music, which was the dominant cultural medium for young people at the time,’ McKinney explained.

  1. The Broadway show was not as successful as the CD in the initial stages of its run.
  2. Billy Graham declared that the production “bordered on blasphemy,” and in a 2021 interview, Ted Neeley, the first understudy for the Jesus role on Broadway, stated that “every single performance was opposed by individuals who called it sacrilegious.
  3. RELATED: Is there an actress who plays Judas?
  4. The professor of religious studies at Duke University, Mark Goodacre, remarked, “I mostly love it, but I love it in spite of myself.” In my capacity as a New Testament scholar, I have a slew of concerns about it.

And I believe that a lot of Tim Rice’s very clichéd lyrics do, every now and again, strike that “aha!” moment.” An issue that has been raised is Rice and Webber’s portrayal of a human Christ who is overwhelmed by his followers, fatigued from his work, and unclear about the purpose of the crucifixion, among other things.

After that, the role of Mary Magdalene has been reduced to a battle with her amorous impulses for Jesus in more nuanced readings, but the character has remained essentially unchanged.

Gettysburg College staged an unlawful production of “Jesus Christ Superstar” in 1971, which was later shut down.

Photograph courtesy of Gettysburg College’s Special Collections/Musselman Library.

Directors must still select how Jesus will be shown at the curtain call, according to Goodacre, noting that when he returns in “beautiful arrayments” rather than crucifixion clothing, the outcome might be “a type of resurrection.” In contrast to Christian protests about the show’s godlessness, Jewish organizations opposed the show’s portrayal of Jewish high priests, who were originally clothed as gargoyles in the original staging.

According to Henry Bial, chair of the theatre and dance department at the University of Kansas, “It was just a few years before that the Vatican Council first said unequivocally that Jews are not collectively accountable for the crucifixion of Jesus.” “It’s understandable that people would be unhappy with a high-profile moment in which the high priests of Israel are scheming against Jesus and come out as a little craven,” says the author.

“But it’s also understandable that people would be uncomfortable with it.” Rice and Webber, who were both reared Anglican, have stated in interviews that they were never attempting to make a religious message about Judaism or Christianity.

During a 1971 interview with the New York Times, Rice expressed his disappointment that “people had read so much more into this than we ever meant.” “We were merely attempting to describe our sentiments about Christ at the time, as well as to narrate His tale and offer recommendations for filling in the gaps.

  • After all, who are we to provide an opinion?” In the end, the program is more about posing questions than it is about providing answers.
  • “Can you tell me what you’ve given up?” In the song “Superstar,” Judas poses this question.
  • Christians, Jews, and the disputed history of the Passion Play are all related.
  • In addition to arena tours and movies, it has been revived for international theater performances, most notably for the 2018 Live NBC production starring John Legend and Sarah Bareilles.
  • “It’s given us a whole bunch of tunes that are incredibly memorable,” Goodacre said of the experience.
  • “It is expressly non-confessional in nature.
  • This, I believe, makes it more appealing to a larger audience,” he remarked.

Gettysburg College staged an unlawful production of “Jesus Christ Superstar” in 1971, which was later shut down.

For Gettysburg College’s early performance, people crammed into the building in any way they could find, sitting, standing in the back, or sitting on window sills, among other things.

The play, according to Bial, was a pioneer in the rock musical genre and, while it is the latest in a long series of attempts to stage the Bible, “it is by far and away the most financially successful adaptation of the Bible that we can find truly in theatrical history,” he added.

In the words of Bial, “Superstar” was one of the first shows to employ word-of-mouth and advance sales to advertise the show before it premiered.

Recla, the seminarian who performed the bootleg version of “Superstar” at Gettysburg College, isn’t a fan of the musical, which comes as a surprise to some.

That iteration, which took place seven months before the Broadway performance, had a completely different approach, according to Recla, placing a greater emphasis on song over grandeur and staging a resurrection at the climax of the show.

“Being a part of the performance proved what can happen when individuals with a wide range of differences come together with a same goal,” Recla remarked. “It implied that I would continue to believe in miracles for the rest of my life.”

Jesus Christ Superstar

  • Musicals for the stage are an example of theatrical music. Jesus Christ Superstar (1971) is a musical in which the orchestra pit is completely covered, the instruments are permanently amplified, and the voices are entirely dependent on microphones, all of which amounts to a replacement of the illusion of theatre in any traditional sense with the reality of a modern recording studio. More information may be found here. In the worlds of rock and theater In the same year, the American premiere of Jesus Christ Superstar, the British rock musical created by Andrew Lloyd Webber and Tim Rice, took place in New York City. First released as a globally popular album, it contained two songs, “I Don’t Know How to Love Him” and “Superstar,” that were mainstream singles in their respective countries. More information may be found here.
  • In Christology, there is a film. Jesus Christ, Superstar (1971), by Andrew Lloyd Webber and Tim Rice, and Godspell (1993), by Stephen Schwartz and John Michael Tebelak (1971). The framework of the musical, despite the fact that it does not avoid the narrative and interpretative challenges discussed above, manages to transform Jesus’ tale into a lighthearted portrayal of cheerful make-believe. … More information may be found here.

discussed in

  • .followed by the rock operaJesus Christ Superstar(1971
  • Film 1973
  • TV special 2018), which was very popular, but controversial, since it mixed classical traditions with rock music to portray the story of Jesus’ life. That show went on to become the longest-running musical in the history of British theatre. The final big collaboration between Lloyd Webber and another artist. More information may be found here.
  • Tim Rice’s rock opera InTim Rice is both inventive and controversial. The concept album Jesus Christ Superstar was published in 1970, and the theatrical production Jesus Christ Superstar premiered the following year. It received rousing international acclaim and enjoyed lengthy runs both in London and on Broadway in New York City
  • A film adaptation was released in 1973, and it is still running today. Rice’s last. Continue reading
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‘Jesus Christ Superstar’ at 50: What Was the Buzz?

During the Broadway production of “Jesus Christ Superstar” in 1971, Jeff Fenholt played the role of Jesus of Nazareth. Photo credit: F. Friedman-Abeles courtesy of the New York Public Library for the Performing Arts When Yvonne Elliman, an 18-year-old singer and guitarist from Hawaii, had just completed singing at a London nightclub when a frantic young man rushed the stage, Yvonne was taken aback and nearly killed. a wide-eyed, 22-year-old Andrew Lloyd Webber exclaimed, referring to you as “my Mary Magdalene!” She said that she had been unfamiliar with the biblical account during a recent phone discussion: “I believed he meant the mother of God.” Elliman, now 69, said she mistook him for the mother of God during her phone chat.

  • “He was like, “No, no, no, no, it’s not the mother,” he said.
  • The musical, which premiered on Oct.
  • Thus, it brought together rock and musical theater, opening the way for works such as “Les Misérables” and “The Phantom of the Opera,” as well as the British invasion of Broadway in the 1970s and 1980s.
  • During a recent phone chat, Lloyd Webber, 73, shared his thoughts on the production’s staging: “We had no idea how it was going to be produced.” The album wasn’t a compilation of rock music or something like that.
  • 1 on the Billboard charts by February 1971.
  • “We were startled by the success,” Rice, 76, the show’s lyricist, said in a video chat from his home in Buckinghamshire, England.
  • And with somewhat a contentious title.

“I was requested to go to a hospital and place my hands on a girl who’d been in a vehicle accident. I didn’t know what to say – I held her hand and sat with her. But a few weeks later, her parents wrote to me that she got better immediately after me seeing her.”

Broadway Opening

The image is courtesy of Bettmann via Getty Images The green light was finally given to them: Broadway. The film was directed by Tom O’Horgan (Hair), who was chosen when Lloyd Webber failed to receive a telegram from filmmaker Hal Prince, who had indicated interest. “Hal Prince would have been the one guy I would have wanted to have seen do it,” Lloyd Webber stated in the interview. “Do you think things would have turned out differently? Would it have been beneficial? “I really don’t know.” With Lloyd Webber, 23, and Rice, 26, in attendance, the musical, which tells the story of Jesus’ final seven days through the eyes of one of his disciples named Judas Iscariot, premiered at the Mark Hellinger Theater on 51st Street on Friday night.

Let’s just say that Lloyd Webber and O’Horgan’s $700,000 staging of “The Phantom of the Opera” was a “brash and filthy interpretation,” and that opening night was “perhaps the worst night of my life,” according to Lloyd Webber, who would later declare the production “the definitive one.” The reviews were a mixed bag.

His description reads, “It appears to be a record that has been duplicated onstage with visual filler by Tom O’Horgan.” The show was lambasted by writer Clive Barnes of the New York Times, who wrote that it “resembled one’s first glimpse of the Empire State Building.” Nothing short of fascinating, but yet expected and of only marginal aesthetic worth,” says the author.

Cries of “Blasphemy!”

Hundreds of Christian and Jewish demonstrators turned up for the show’s opening night, carrying leaflets and denouncing what New York Times writer Guy Flatley termed “the strutting, mincing, twitching, grinding,” “souped-up ‘Superstar,'” which he described as “theatrical sacrilege.” “It would be ‘Blasphemy! Blasphemy!’ as you walked into the theater,” recalled Ben Vereen, who played Judas and is now 75 years old. The composer went on to say, “I’m not certain that Robert Stigwood, our producer, couldn’t have arranged one or two of them himself.” In retrospect, I believe it might have had a far more difficult journey today than it did then.” A number of people have accused Rice and Lloyd Webber of rejecting the divine nature of Christ and of constructing a hero out of Judas, who is unambiguously shown as a villain in the New Testament.

  1. Jewish officials were concerned that the opera implied that Jews were responsible for Jesus’ execution, which they felt would inflame anti-Semitism further.
  2. “However, that was not a part of our tale since, by that time, Judas was no longer alive.
  3. According to Elliman, he would receive “evil emails” from people who said they intended to kill Mary in order for Yvonne to emerge once more.
  4. I suppose he would have been a really gorgeous man, but not someone who was actively hunting for a relationship, says the author.

“He was a person who exuded charisma and authority. “Perhaps, and this lady is a little terrified of it, perhaps a little afraid of what she is experiencing inside herself.”

Jesus and Judas

The image is courtesy of Bettmann via Getty Images Jesus Christ, as played by Jeff Fenholt, loses his anger, questions God’s existence, and becomes a little too enamored with his own stardom. He’s just Jesus, the guy, with all of the difficulties and flaws that come with that. “He was aware of his discomfort,” Rice added. For example, “If he were merely a deity, then things like the crucifixion, which is a horrendous, horrendous kind of torture and death, wouldn’t really be a problem.” He needs to suffer, whether he is a man or a deity, because he is a human being.

  • In the words of Lloyd Webber, “we needed a rock tenor who contrasted with the voice of Judas.” Vereen, who played Judas, was nominated for a Tony Award for her performance in the role.
  • According to him, “Jesus did not write the book, and Judas did not write the book.” In the Gospels, all we hear is the hearsay of these guys from the disciples.
  • Then I thought, ‘Wow, this is a very fantastic character, which I can develop on from what’s in the Bible, since there isn’t a whole lot in the Bible,'” Rice recalled.
  • He possessed both positive and negative characteristics.
  • After that, he conducted extensive research in the Bible and came up with a hypothesis.
  • “And he was concerned that if he betrayed him, the Israelites would revolt and install Jesus as their leader.”

A Musical Radio Play

Image courtesy of Rolls Press/Popperfoto, courtesy of Getty Images Because the performance began as what Lloyd Webber refers to as a “musical radio drama,” which means it had to be listened to straight through for 90 minutes without any visuals “on a turntable, in those days,” he had to devise techniques to maintain the listener’s interest throughout. According to him, “a lot of it has to do with how you plant themes and how you deal with them.” “The overture was created with the goal of introducing every item that I could think of that would fit into the musical palette that would be used throughout the duration of the album.” And then those themes repeat one by one, like when the whole overture is mirrored in Jesus’ trial before Pontius Pilate, or when a song with a twist, such as “I Don’t Know How to Love Him,” reappears with a new twist.

It is a love song about Jesus to Mary Magdalene; when it returns as a motif in a lament performed by Judas, the words change: “He’s not a king, he’s just the same/As everyone I know/He worries me so.” According to Lloyd Webber, “Judas understood Jesus, and he definitely was plainly captivated with him and adored him.” Furthermore, you had this lady who was, if you believe the Bible, clearly head over heels in love with him at the same time as well.

And, of course, there’s the strange track from the musical itself.

According to Lloyd Webber, “it’s taking a traditional showbiz number and turning it into something really, really, really horrible.” This is a number that has gone horribly wrong when Herod turns around and exclaims, “Get out of my life!” “Get out of my life!” Rice made the following statement: “I believe it’s a wonderful move on Andrew’s side from a musical standpoint.

Just as everything is getting heavier and heavier and heavier, you hear a very appealing song that immediately grabs your attention. ‘Oh, well, you know, maybe it’s going to have a happy ending.’ was the kind of thing we wanted people to think when they saw the trailer.

The Show’s Legacy

After generating $1.2 million in advance sales, the Broadway production sold out nearly every performance during its first six weeks on the road. The excitement, on the other hand, was short-lived. It played for a total of 711 performances and failed to win a Tony Award despite being nominated for five awards, including one for best score. However, the musical’s legacy has endured, spawning three Broadway revivals (in 1977, 2000, and 2012), a 2012 Lloyd Webber-produced televised competition series to cast the titular role for a British arena tour, a 2018 televised NBC production that starred John Legend as Jesus and resulted in Emmy awards for Rice and Lloyd Webber — and now the 50th anniversary American tour, which was halted by the pandemic but resumed performances in Seattle late last “It’s been 51 years since the record was released.

blimey!” Rice expressed himself.

In his opinion, “without seeming immodest” (he grinned), “it’s actually rather nice.”

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