Who Wrote Jesus Christ Superstar

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.

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.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

Jesus Christ Superstar (album) – Wikipedia

Jesus Christ Superstar
Original UK cover
Studio albumbyvarious artists
Released	27 October 1970
Recorded	10 October 1969 (“Superstar” single) 1970 inOlympic Studios, London
Genre	Art rock,progressive rock
Length	86: 56
Label	Decca / MCA / Decca Broadway
Producer	Tim Rice,Andrew Lloyd Webber
Andrew Lloyd WebberandTim Ricechronology

“Superstar” is a euphemism for “superstardom.” “I Don’t Know How to Love Him” was released on the 21st of November, 1969
“I Don’t Know How to Love Him” was released on the 13th of May, 1971.

Professional ratings

Review scores
Source	Rating
AllMusic
Christgau’s Record Guide	C–

Jesus Christ Superstaris a 1970 LP musical by Andrew Lloyd Webber and Tim Rice that served as the inspiration for the 1971 rock opera of the same name. Because the composers were unable to get funding for a stage play, they decided to release it as an album, which was a commercial success, which led to the production being staged. The album musical is a musical dramatization of the final week of Jesus Christ’s life, beginning with his arrival into Jerusalem and concluding with his crucifixion.

It was previously prohibited by the BBCon on the grounds that it was “sacrilegious.” By 1983, the album had sold more than 7 million copies in total throughout the world.

Composition

According to the Synoptic Gospels and Fulton J. Sheen’s Life of Christ, the plot of the album is based in great part on a comparison and calibration of all four Gospels. In contrast, considerable attention is put on the interpersonal connections of the principal characters, particularly those of Jesus, Judas, and Mary Magdalene, relationships that aren’t fully shown in the Gospels. The Bob Dylan song ” With God on Our Side “, according to the lyricist Rice, served as inspiration. Herod’s Song” is a lyrical rewriting of “Try It and See,” which was first written by Lloyd Webber and Rice as a potential British entry for the 1969 Eurovision Song Contest to be sung byLulu, then recorded by Rita Pavone and released as a single by Rita Pavone in 1970.

The tune for “I Don’t Know How to Love Him” was originally developed for a 1968 Lloyd Webber/Rice duet named “Kansas Morning,” and it was revised for Jesus Christ Superstar in the same year.

Recording

Murray Head, who had recently left the West End production ofHair, was recruited by Lloyd Webber and Rice for the recording. The rest of the cast was drawn from both the musical theatre and the British rock scene (Ian Gillanhad only recently become the singer ofDeep Purple). Numerous major players, including guitarists Neil Hubbard and Henry McCullough, bassist Alan Spenner, and drummer Bruce Rowland, were formerly associated withJoe Cocker’s backup band, The Grease Band. Chris Mercer, a saxophonist, had previously collaborated with Hubbard on the albumJuicy Lucy.

Release

‘Superstar’ was released as a single in November 1969, accompanied by the instrumental “John Nineteen Forty-One.” It was the first component of Superstar to be released (seeJohn 19:41). The full-length record was released about a year later. The album peaked at the top of the Billboard Top LP’s list in both February and May 1971, and it finished the year at the top of the year-end chart, ahead of Carole King’s enormous hitTapestry, which came in at number two. A number of theater performances on Broadway and in the West End were launched from here as well as other locations.

A distinctive thin brown cardboard outer box (“The Brown Album”), which held the two vinyl tracks and a 28-page libretto, was used to package the original 1970 boxed-set version of this 2-record set in the United States.

Track listing

As a single in November 1969, the title song was accompanied with the instrumental “John Nineteen Forty-One,” which served as a prelude to the rest of the album (seeJohn 19:41). A little over a year later, the whole album was released. Both in February and May 1971, the album reached the top of the Billboard Top LP’s list in the United States, and it rated first overall on the year-end chart, surpassing Carole King’s smash hitTapestry by one position. A number of theatre shows on Broadway and in the West End were launched from this location.

Side one

No.	Title	Length
1.	“Overture”	4: 00
2.	“Heaven on Their Minds”	4: 23
3.	“What’s the Buzz/Strange Thing Mystifying”	4: 13
4.	” Everything’s Alright “	4: 36
5.	” This Jesus Must Die “	5: 11

Side two

No.	Title	Length
1.	“Hosanna”	2: 09
2.	“Simon Zealotes/Poor Jerusalem”	4: 49
3.	“Pilate’s Dream”	1: 28
4.	“The Temple”	4: 43
5.	“Everything’s Alright (reprise)”	0: 34
6.	” I Don’t Know How to Love Him “	3: 41
7.	“Damned for All Time/Blood Money”	4: 36

Side three

No.	Title	Length
1.	“The Last Supper”	7: 10
2.	“Gethsemane (I Only Want to Say)”	5: 33
3.	“The Arrest”	3: 24
4.	“Peter’s Denial”	1: 27
5.	“Pilate and Christ”	2: 46
6.	“King Herod’s Song”	3: 02

Side four

No.	Title	Length
1.	“Judas’ Death”	4: 17
2.	“Trial Before Pilate (Including the 39 Lashes)”	5: 13
3.	” Superstar “	4: 16
4.	“The Crucifixion”	4: 04
5.	“John Nineteen Forty-One”	2: 10

Credits

Participants in the main game

Ian Gillan portrays Jesus Christ
Murray Head portrays Judas Iscariot
Yvonne Elliman portrays Mary Magdalene
Victor Brox portrays Caiaphas, the High Priest
And Barry Dennen portrays Pontius Pilate.

Players that are on the sidelines

The cast includes Brian Keith as Annas, John Gustafson as Simon Zealotes, Paul Davis as Peter, and Mike d’Abo as King Herod.

Various other participants

Annette Brox portrays the Maid by the Fire, Paul Raven portrays the Priest, Pat Arnold, Tony Ashton, Tim Rice, Peter Barnfeather, Madeline Bell, Brian Bennett,Lesley Duncan, Kay Garner, Barbara Kay, Neil Lancaster, Alan M. O’Duffy, Terry Saunders portrays the background vocals, and Geoffrey Mitchell conducts the choir. The Trinidad Singers, under the direction of Horace James, perform “Superstar”
The Trinidad Singers, under the

Neil Hubbard plays electric guitar
Henry McCullough plays electric guitar and acoustic guitar
Chris Mercer plays tenor sax
J. Peter Robinson plays piano, electric piano, organ, and positive organ
And Chris Mercer plays tenor sax. Bruce Rowland plays drums and percussion, while Alan Spenner plays bass guitar.

Musicians from other genres

Among those who contributed to this album are Harold Beckett, Les Condon, Ian Hamer, Kenny Wheeler–trumpet
Anthony Brooke and Joseph Castaldini–bassoon
Andrew McGavin, Douglas Moore, James Brown, Jim Buck Sr., Jim Buck Jr., John Burdon –horns
Norman Cave and Karl Jenkins–piano
Jeff Clyne, Peter Morgan, Alan Weighall–bass guitar
Keith Christie, Frank Jones, Anthony Moore Mike Vickers plays the Moog synthesizer
Mick Weaver plays the piano and organ
Andrew Lloyd Webber plays the piano, organ, and Moog synthesizer
And the Strings of the City of London Ensemble performs the strings.

Production

Reissue

Recording of the original concept. Jesus Christ Superstar: A Rock Opera is a musical on the life of Jesus Christ. MCA Records Inc. (Universal City, California) published the album in 1993. (released 24 SEP 1996). MCAD2-11542, UPC 008811154226, Cat. No. MCAD2-11542, UPC 008811154226, UPC 008811154226, UPC 008811154226, UPC 008811154226, UPC 008811154226, UPC 008811154226, UPC 008811154226, UPC 008811154226, UPC 008811154226 (Note: the title is printed in black on the front and back covers, with a gold ‘angels’ emblem and gold text on the spine.

On the inside of the package, there is no indication of this.

Charts

Chart (1970–71)	Peakposition
Australian Kent Music Report	6
Austrian Albums Chart	4
Canadian RPM Albums Chart	1
Dutch Albums Chart	10
Norwegian Albums Chart	3
UK Albums Chart	23
USBillboard200	1
West German Media Control Albums Chart	11

Year-end charts

Chart (1971)	Position
Australian Albums Chart	4
US Billboard Pop Albums	1

Certifications and sales

Jesus Christ Superstar
Jesus Christ Superstar (film)
Jesus Christ Superstar (tv show)

References

AllMusic has a detailed overview of the Jesus Christ Superstar album. On the 28th of September, 2006, I was able to obtain the following information: Robert Christgau is the author of this work (1981). “Consumer Guide for the 1970s: J.” Christgau’s Record Guide: Rock Albums of the Seventies is a comprehensive guide to the music of the seventies. Ticknor and Fields are two of the most well-known names in British literature. ISBN089919026X. The following information was obtained on February 27, 2019– through robertchristgau.com: They prohibited it, they outlawed this album because they believed it was sacrilegious, according to the BBC. Norman Jewison and Ted Neeley had a talk about this. “Archived copy” is an abbreviation. The original version of this article was published on July 17, 2011. Archived copy as title (link)
CS1 maint: archived copy as title (link)
Norman Jewison’s Autobiography
AbOchs, Ed (29 January 1983). “Geffen Sizzles While Business Drizzles: Broadway is the Next Stage for Pop’s Top Composers” is the title of the article. B-4.ISSN0006-2510
Billboard.95(4): B-4.ISSN0006-2510
Kimberly Winston and Winston, Kimberly (30 March 2018). “The ‘Splainer: The Stormy, Strange History ofJesus Christ Superstar” is a book on the stormy, surprising history of Jesus Christ Superstar. Religion News Service is based in Washington, D.C. The following is an excerpt from the article “Allmusic:Jesus Christ Superstar: ChartsAwards: Billboard Albums”. AllMusic. ab1971 Year-End Albums – The Billboard Pop Albums, which was retrieved on May 1, 2013. The date was December 25, 1971. The Austin Chronicle published a piece titled “Jesus Christ Superstar50 Years On” by Paul Beutel on 7 October 2019 commemorating the 50th anniversary of the film’s release. “Original Concept Recording (1970) –Jesus Christ Superstar, recording information, Jesus Christ Superstar Zone (reference for this and subsequent sections)
AbKent, David (1993). 1970–1992 edition of the Australian Chart Book. The Australian Chart Book is published in St Ives, New South Wales, and has the ISBN 0-646-11917-6
“Musical / Andrew Lloyd Webber –Jesus Christ Superstar: A Rock Opera– austriancharts.at”
“Jesus Christ Superstar: A Rock Opera– austriancharts.at”. “Top Albums/CDs – Volume 15, No. 3”, which was retrieved on May 3, 2013. The 6th of March, 1971, was an RPM day. “DutchCharts.nl” was accessed on May 5, 2013. “Jesus Christ Superstar: A Rock Opera” is a musical produced by Andrew Lloyd Webber (ASP). Hung Medien is a media company based in Hong Kong (in Dutch). MegaCharts. “norwegiancharts.com” was accessed on May 1, 2012. “Jesus Christ Superstar: A Rock Opera” is a musical produced by Andrew Lloyd Webber (ASP). “Album Search Official Charts” was retrieved on May 1, 2012. Albums chart in the United Kingdom. The original version of this article was published on March 21, 2014. It was found on 1 May 2013 by searching for “Album Search: Musical / Andrew Lloyd Webber –Jesus Christ Superstar: A Rock Opera”(ASP) (in German). Control over the media. Retrieved1 May2013
“Superstar Gets Gold”.Billboard, 29 September 1973, p. 47. Retrieved3 December2019
“Canadian albumcertifications – Original Soundtrack – Jesus Christ Superstar – Ost”.Canadian albumcertifications – Original Soundtrack – Jesus Christ Superstar – Ost. “CBS-Sugar Sees a Sweet Picture in the Economy Despite the Economy’s Slump,” according to Music Canada. Billboard magazine, July 6, 1974, p. 38. The following article was retrieved on 3 December 2019: “Jesus Goes Gold” (PDF). Cashbox, 7 December 1974, p. 48, courtesy of American Radio History
“From The Music Capitals of the World – Amsterdam,” “From The Music Capitals of the World,” “From The Music Capitals of the World,” “From The Music Capitals of the World,” “From The Music Capitals of the World,” “From The Music Capitals of the World,” “From The Music Capitals of the World,” “From The Music Capitals of the World,” “From The Music Capitals of the World,” ” (PDF). Billboard magazine, August 21, 1976, p. 50. retrieved on 3 December 2019– through American Radio History
“From The Music Capitals of the World – Stockholm”
“From The Music Capitals of the World – Stockholm” (PDF). Billboard, issue of June 10, 1972, p. 50. American Radio History was able to locate this information on 3 December 2019. Original Soundtrack – Jesus Christ Superstar – Ost” is listed as “British albumcertifications”. The British Phonographic Industry was founded in 1895. Retrieved on the 3rd of December, 2019. Albums should be selected in the Format box. Gold should be selected in the Certification area. In the “Search BPI Awards” section, typeJesus Christ Superstar – Ostin the search box and then click Enter
Soundtrack – Jesus Christ Superstar (Original Cast) – American albumcertifications” Association of the Recording Industry of America (RIAA). The following article was published on 3 December 2019: “”Superstar” Film Israeli Locale.” Billboard, May 6, 1972, p. 84. It was retrieved on the 3rd of December, 2019.

External links

Www.jesuschristsuperstar.com: The Album
Www.discogs.com:Jesus Christ Superstar (list of releases)
Www.discogs.com:Jesus Christ Superstar

10 Things You Might Not Know About Jesus Christ Superstar

In the 1970s, an opera about Jesus of Nazareth played a pivotal role in bridging the gap between rock ‘n’ roll and musical theater audiences. Despite the fact that the radical songs from Jesus Christ Superstar split religious organizations, they dominated the Billboard charts. The production also heralded the beginning of Broadway’s “British invasion” in the 1970s and 1980s, laying the groundwork for such mega-hits as Cats and Les Miserables to take the stage. In 2018, NBC broadcasted a live rendition of the play, which included John Legend as Jesus and Sara Bareilles as Mary Magdalene.

1. IT BEGAN AS A CONCEPT ALBUM BECAUSE NO PRODUCER WANTED TO PUT IT ON STAGE.

In the 1970s, an opera about Jesus of Nazareth played a pivotal role in bridging the gap between rock ‘n’ roll and musical theater in America. Despite the fact that the radical songs from Jesus Christ Superstar split religious groups, they were a smash hit on the Billboard list. The production also heralded the beginning of Broadway’s “British invasion” of the 1970s and 1980s, laying the groundwork for such mega-hits as Cats and Les Miserables to take the stage. It was shown on NBC in 2018 in a live form with John Legend as Jesus and Sara Bareilles portraying Mary Magdalene.

2. A BOB DYLAN LYRIC INSPIRED THE MUSICAL’S DEPICTION OF JUDAS.

In the hymn “With God on Our Side,” the line “Did Judas Iscariot have God on his side?” was sung by Judas Iscariot himself. Tim’s beginning point for the text, according to Lloyd Webber, who subsequently explained the line. In any case, Iscariot was not an ignorant guy, and how much of the final outcome was a result of what was necessary given the political climate of the time?” According to Rice, Judas Iscariot is depicted in the Bible as a “cardboard cut-out image of wickedness,” and he set out to humanize Judas in Superstar.

3. ANDREW LLOYD WEBBER WROTE PART OF THE TITULAR SONG ON A NAPKIN.

In a 2015 interview, the composer said that he couldn’t remember precisely when the now-iconic tune initially came to him, but that he did remember that he had forgotten it: “What I do remember, though, is that I forgot it.” When the song sprang back into his thoughts one day in 1969 when he was strolling along London’s Fulham Road, he was thrilled. “I happened to be passing a restaurant. It was named Carlo’s Place, and the proprietor was someone I knew a little bit. I walked into the restaurant and asked for a sheet of paper, which they gladly provided.” He recalled what had happened.

4. THE MELODY OF “I DON’T KNOW HOW TO LOVE HIM” WAS TAKEN FROM AN UNRELATED SONG CALLED “KANSAS MORNING.”

Rice and Lloyd Webber collaborated on the song “Kansas Morning,” which was created as a tribute to the Sunflower State and released in 1967. In the lyrics of one song, “I adore the Kansas morning,” the singer said. “I’m looking out my window at Kansas mist.” Later, while working on the score for Superstar, the musicians reworked an old song and added new words, giving birth to Mary’s Act I solo. Webber has agreed that the tune does resemble a subject from Felix Mendelssohn’sViolin Concerto in E Minor, which he composed for his daughter (1845).

“That was something I simply took in.”

5. YVONNE ELLIMAN WAS CAST AS THE ORIGINAL MARY MAGDALENE AFTER LLOYD WEBBER HEARD HER SINGING AT A NIGHTCLUB.

As part of his search for vocalists for the concept album, Lloyd Webber paid a visit to the famous Pheasantry Club in Chelsea to see whether a jazz singer playing there might be a good match for Pontius Pilate. He was unsuccessful. As Lloyd Webber said to The Daily Mail in 2012, “I concluded he was completely inappropriate for the job,” but “his warm-up performance, a stunning 17-year-old Hawaiian girl named Yvonne Elliman, playing herself on the guitar, was fantastic.” I looked around and saw everything I had wished for Mary Magdalene there in front of me.” In a telephone conversation with Rice, who “agreed that we had discovered our Mary,” he said.

Elliman would go on to become the only member of the album’s cast to reprise her part on Broadway, in the show’s 1971 arena tour, and in the film adaptation of Jesus Christ Superstar, released in 1973.

6. LLOYD WEBBER HATED THE ORIGINAL BROADWAY PRODUCTION.

The original Superstaralbum, which consisted of two discs, was published in September 1970, and by February 1971, it had risen to the top of the Billboard charts. Soon after, American fans began organizing illegal live performances in churches and theaters around the country, prompting producer Robert Stigwood to suggest that an officialJesus Christ Superstarconcert tour be staged in conjunction with the film. The inaugural performance was held on July 12, 1971, at the Civic Arena in Pittsburgh, Pennsylvania.

Many critics, including Clive Barnes of The New York Times, were critical of the production, which was directed by Tom O’Horgan.

It all had a certain resemblance to the first time one saw the Empire State Building.

Lloyd Webber, on the other hand, disliked it to the extreme.

7. IT OFFENDED RELIGIOUS GROUPS.

“It’s a hot topic right now.” According to entertainment journalist Tim Cainonce, “Christina Aguilera’s performance of the national anthem before the Super Bowl was a flub.” “When it was first launched, there was a lot of controversy around it.” The Anti-Defamation League of B’nai B’rith and the American Jewish Committee both expressed their opposition to the program. The American preacher Billy Graham was likewise not a fan of the musical, accusing it of bordering on “blasphemy and sacrilege” and expressing his displeasure with the fact that it does not include the resurrection.

leads young people to explore their Bibles, to some extent it may be useful.

However, a small number of groups came to its aid.

8. POPE PAUL VI WAS TREATED TO A PRIVATE, ADVANCE SCREENING OF THE 1973 MOVIE VERSION.

Jesus Christ Superstar has been turned into a film on two occasions: Originally published in 1973, a straight-to-video remake was released in 2000, and a sequel was released in 2003. The former was directed by Academy Award contender Norman Jewison (who also helmed the 1987 film Moonstruck), while the latter was directed by Robert Rodriguez. When the film was shown to Pope Paul VI, the film received positive feedback, which was summarized as follows: He also expressed his appreciation for the film by saying, according to Ted Neeley, who portrays Jesus, “Mr.

9. IT PROMPTED RICHARD O’BRIEN TO START WRITINGTHE ROCKY HORROR PICTURE SHOW.

The next year, Richard O’Brien joined the London production of Superstar, which he had previously performed in with the touring cast of Hair. In an interview with Pink News, he explained that he had signed a contract to perform in the chorus for three months before taking on the part of Herod. O’Brien’s Herod, on the other hand, was a conceited Elvis impersonator, and the powers that be were unimpressed. “When it came down to it, they decided they didn’t want me to be Herod. “They handed me three hundred pounds and told me to get out of there,” O’Brien stated.

I was enraged by the fact that they had the audacity to refer to Superstar as a rock opera. There are some good songs on the album, but it isn’t rock & roll in the traditional sense. WritingRockywas a delight since my passion for authentic rock and roll served as the inspiration for the songs.”

10. ONE PRODUCTION’S SEARCH FOR A LEADING MAN TURNED INTO A REALITY TV SHOW.

Superstar, a televised competition in the manner of The Voice, was introduced by the British television network ITV in 2012. There was a new Jesus Christ Superstar concert tour in the works in the United Kingdom at the time, and the series, which was created by Lloyd Webber, allowed scores of hopefuls to compete for the role of Jesus on the big screen. Finally, Ben Forester, a Sunderland local, was crowned the winner; he went on to perform on the tour alongside former Spice Girl Mel C. (who also served as a judge on the show).

The stormy, surprising history of ‘Jesus Christ Superstar’

On Easter Sunday, NBC will broadcast a live broadcast of “Jesus Christ Superstar,” which will feature performances by John Legend, Alice Cooper, and other stars from current pop culture. Although it has been on the stage for over 50 years, the musical by composer Andrew Lloyd Webber and lyricist Tim Rice has had a lengthy and illustrious production history that has seen both triumphs and setbacks. In other words, what is the history of this British import that will be revisited and recreated in a television special on Sunday, April 1st?

A: “Jesus Christ Superstar” is a musical production largely based on the Gospels of the New Testament.

Essentially, it’s a late-century Passion drama with a late point of attack — it starts just as Jesus reaches Jerusalem, a week before he is executed.

“Jesus Christ Superstar,” on the other hand, isn’t truly a musical.

Because it is a “rock opera,” there are no spoken passages in the original production of “Jesus Christ Superstar.” Lloyd Webber and Tim Rice were the creators of the form and penned a slew of shows, including “Joseph and the Amazing Technicolor Dreamcoat,” “Evita,” “Cats,” and “Phantom of the Opera,” among others.

“Superstar” is more about Judas than it is about Jesus, and this is the focal point of the drama.
Q:Is “Jesus Christ Superstar” a brand-new production?
It is far older than the majority of the audience that NBC is attempting to reach.
The record went on to sell more than 3 million copies worldwide and became an international success.
However, rather than framing his divinity or ministry, they choose to focus on the social elements at play in his life and the lives of his followers.
In 1971, the concept album was given the full Broadway treatment as a stage production.
The show was nominated for five Tony Awards, but the cast and creators were unable to bring home any of the trophies.

A:Wrong.

Jewish organizations were also dissatisfied.

Lloyd Webber and Rice, who were 23 and 26 years old, respectively, at the time of the show’s Broadway debut, were displeased with the decision.

These children are attempting to remove Jesus from the stained-glass windows and bring him down to the street beneath them.

A:guess It’s anyone’s at this point.

The act is performed in medieval garb – sandals and robes — on occasion, and in modern attire on other occasions.

“Anything goes” is the guiding principle of the show.

There will be no resurrection on Easter Sunday.

Expect one thing: NBC does not intend to offend any fans with their selection of the often contentious “Superstar,” despite the controversy surrounding the show.

In fact, “Hairspray Live!” pulled in $24.9 million for NBC in 2016, while “Grease Live!” drew in $15.7 million for Fox during the first week of the year. — Religion News Service (in English)

‘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.
Rice, 76, the show’s lyricist, stated in a video chat from his home in Buckinghamshire, England, that he and his colleagues were “stunned” by the success.
And with a somewhat contentious title to boot.
When I arrived at the hospital, I was instructed to apply pressure on a female who had been in an automobile accident.” I couldn’t think of anything to say, so I just held her hand and sat with her.

Nevertheless, her parents wrote to me a few weeks later, stating that she had improved promptly after visiting me.”

Broadway Opening

During the Broadway performance of “Jesus Christ Superstar” in 1971, Jeff Fenholt portrayed Jesus of Nazareth on stage. Friedman-Abeles is credited to The New York Public Library for the Performing Arts. On that fateful night in 1970, an out-of-breath young man charged onto the stage of a London nightclub where Yvonne Elliman, an 18-year-old singer and guitarist from Hawaii, had just completed singing. a wide-eyed, 22-year-old Andrew Lloyd Webber exclaimed, referring to the actress as “my Mary Magdalene!

“I believed he meant the mother of God,” Elliman recalled in a recent phone chat.
“He was like, “No, no, no, no,” he said.
When it 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 throughout 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 ever going to be performed.” The album wasn’t a compilation of rock music or anything like that.” To make sure you could comprehend what was being read to you, it had to be recorded in order for it to have a dramatic context.

The rock opera with a full orchestra and gospel choir, despite the album’s failure in the United Kingdom, was a smash hit in the United States, reaching No.

The first album had sold 2.5 million copies in the United States within a year of its release.

A large orchestra and a rock section were provided by MCA for the recording of our single.

“It was successful.” When Elliman (Mary Magdalene), Carl Anderson (Judas), and Jeff Fenholt (Jesus) embarked on a nationwide concert tour in 1971, fans flocked to the stadiums to hear them sing out favorites like “I Don’t Know How to Love Him,” “Heaven on Their Minds,” and “Gethsemane (I Only Want to Say).” According to Elliman, the experience was “wild.” In order to assist a female who had been involved in an automobile accident, I was sent to a hospital.

Not knowing what to say, I sat with her, holding her hand while she cried. Nevertheless, her parents wrote to me a few weeks later, stating that she had improved promptly following my visit.”

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.

Jewish officials were concerned that the opera implied that Jews were responsible for Jesus’ execution, which they felt would inflame anti-Semitism further.
“However, that was not a part of our tale since, by that time, Judas was no longer alive.
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.
I suppose he would have been a really gorgeous man, but not someone who was actively hunting for a relationship, says the author.
“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.

“It’s possible that Judas truly loved Jesus more than any of the other disciples and wished for him to be the hero who would rule the land,” Vereen speculated. “And he was concerned that if he betrayed him, the Israelites would revolt and install Jesus as their leader.”

A Musical Radio Play

Getty Images image courtesy of Bettmann. When Jeff Fenholt’s Jesus Christ loses his temper, he begins to mistrust God and becomes overawed by his own notoriety. He’s simply Jesus the man, complete with all of his flaws and shortcomings. In Rice’s words, “He was aware of his discomfort.” “If he were merely a deity, then things like the crucifixion, which is a horrendous, horrendous kind of torture and death, wouldn’t be such a big deal.” – He has to suffer regardless of whether he is a man or a deity.

To contrast with the voice of Judas, Lloyd Webber intended to cast a rock tenor, he explained.
As far as he was concerned, the biblical account of the connection between Jesus and Judas was open to interpretation.
Judas Iscariot’s phrase “Did Judas Iscariot have God on his side?” from Bob Dylan’s 1964 song “With God on Our Side” inspired Rice to attempt to humanize the unequivocal villain of the New Testament.
“He was a human being in every sense of the word.” He had both positive and negative aspects.
Vereen admitted that he first had difficulty comprehending the motivations of his character.
If Judas truly loved Jesus more than any of the other disciples, Vereen said, “it’s possible that he wished for him to be the national hero who dominated the land.” As a result of his betrayal, the Israelites rose up in revolt and installed Jesus in the position of Messiah.

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.”

Tim Rice and Andrew Lloyd Webber release “Jesus Christ Superstar” concept album

From the late 1950s through the mid 1960s, it was usual for original cast recordings of hit Broadway musicals to find their way to the top of the pop album charts, particularly in the late 1950s and early 1960s. During this time period, hit plays such as West Side Story, The Sound of Music, andFunny Girl, among others, all produced million-selling recordings, but by the late 1960s, rock had firmly taken over the top of the pop album charts. As a result of this setting, a young British composer and his lyricist partner were able to achieve enormous success by perfectly inverting the previous formula.

Christ Superstar was the third musical written by Lloyd Webber and Rice, following on from The Likes of Us, which premiered in 2005 and Joseph and the Amazing Technicolor Dreamcoat, which was performed in only a few English churches between 1968 and 1970.
A lengthy interest with Judas Iscariot led to the creation of Superstar, which Tim Rice envisioned not as a craven betrayer of Jesus, but rather as a beloved friend grappling with the ramifications of Jesus’ rising renown.
As a result, Lloyd Webber and Rice decided to release Superstar as an album first.
It featured a cast that included Murray Head, who would go on to star in the pop hit “One Night In Bangkok” (1985) and Yvonne Elliman, who would go on to star in the 19771 hit “If I Can’t Have You,” as Mary Magdalene, and Andrew Lloyd Webber and Tim Rice.
Don Heckman, writing for The New York Times, questioned if this new “rock opera” deserved to be praised as either a rock performance or as an opera performance.

Heckman noted that, when compared to operas by composers like as Stravinsky and Gershwin from the twentieth century, “the contrast is rather severe.” Still, theJesus Christ Superstaralbum produced two Top 40 singles, “I Don’t Know How To Love Him” by Yvonne Elliman and “I Don’t Know How To Love Him” by Helen Reddy, and it rocketed to No.

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Jesus Christ Superstar opens on Broadway – archive, 14 October 1971

For the past 2,000 years, Jesus Christ has been seen as a simple messiah. After all this time, Jesus Christ Superstar premiered on Broadway on Tuesday, not without protests from picket lines of people who still believe in Jesus as the Saviour rather than a showbiz commodity – and with more tickets sold in advance than any other musical in history. It is such a significant property that the producer, Robert Stigwood, took the unprecedented step of flying members of the British press to New York and putting them up in the Plaza, a 19-story French chateau on the corner of Fifth Avenue and Central Park, where they remained for the duration of the production.

The rock opera is the creation of two young Englishmen, who were inspired by a narrative written by God.
The two-disc album on which the play is based was a critical and commercial failure in London, but it has sold more than 212 million copies in the United States.
The advance sales for the Broadway musical have reached a whopping million dollars so far.
The Stigwood group of firms manages artists such as The Cream, Tin Tin, Georgie Fame, The Bee Gees, and Frankie Howerd, but none of them appear to be as financially promising as the new Stigwood JC line, which is set to debut in the fall.

Webber, Rice, and the director, Tom O’Horgan, are a formidable enough trio (O’Horgan previously directed the Broadway versions ofHair and the current hit about Lenny Bruce, Lenny), but there is no escaping the gospel truth that, for all the money, time, talent, and effort invested in Jesus Christ Superstar, the show stutters from vulgarity to schmaltz and back.

She performed a torch song to Jesus (“I don’t know how to love Him”) in a sultry manner that brought them to their feet in the presence of the gods.

Despite the fact that Rice and Webber meant for Superstar to be a direct confrontation with the Bible account, there are no new insights to be found; rather, the impression is that a pair of clever and fashionable young men are skirting the issue with a tinge of uneasiness.

The psychedelic crucifixion, on the other hand, makes all those pre-Renaissance debates about whether Christ should be shown as being crucified to the cross with three nails or four nails seem like a waste of time.