At this point, the rumor mill, previously suspiciously silent, began to whip up in full swing, most of it surrounding the crucial role of Judas. Small wonder that speculation was taking the reins; with Easter only two months away, none of the rest of the cast had been announced, and nobody was reported to be rehearsing previous efforts by NBC had taken as little as three months and as long as a year and a half to rehearse.
If the rumors that NBC had been holding out for a star in the role of Judas were true, evidently they had no such luck. Alex Rudzinski, who had previously served as the director on the TV side for the live presentations of Grease and Hairspray , was signing on as TV director and executive producer for JCS ; choreography would be by Camille A.
Brown, with costume design by Paul Tazewell. A behind-the-scenes presentation toward the end of February at the Paley Center for Media in NYC, simulcast on Facebook, gave an exclusive first look at the production design which JCS fans by and large rather liked in terms of scale, if not being particularly innovative and gave some hint of how the leads were approaching their roles. However, promo performances of songs from the show by the leads featuring Toronto open participation group Choir!
Finally, the night of the show arrived. For insurance, a full dress rehearsal was taped the night before in front of an invited audience in the event of any difficulties during the live broadcast, but it ultimately was not needed. At the end of the month in which it premiered, the more-than-casual JCS fans are still sharply divided as to whether it was merely mediocre not the greatest production, but some decent highlights in terms of design and casting or singularly awful.
According to a friend of the reviewer, people who have never seen or heard it before messaged her saying that they loved it and asking how it compared to the Brown Album or the movie.
It is an event and worth sitting through if only to appreciate a landmark work approaching its fiftieth anniversary.
Best with volume turned down - not for the cast but for the out of control onstage audience. I wondered how "Jesus Christ Superstar" would work on live television - and, like many others, I will say that I was surprised by the volume of commercial interruptions. I realize that someone has to pay for such a production and the sponsors have to get the chance to hawk their wares so to speak kind of like the vendors at the temple but there were definitely too many commercial interruptions.
They really did detract from the flow of the story. However - that would be pretty much my only criticism of this presentation, and quite frankly it's somewhat tempered by the fact that I was very impressed that NBC chose to put this together and get it on the air on regular television.
I suppose it could have been done as a pay per view experience without commercials - but at least this was accessible to anyone who wanted to watch it.
From a technical perspective, the sets were fantastic, although the vocals were sometimes hard to hear. But basically, for those who did watch it - what a show it was! The performances almost all the way around were spectacular. Brandon Victor Dixon as Judas had the lead role, since the story of Jesus in "Superstar" is largely told through the eyes of Judas, who is depicted as concerned that Jesus has allowed his growing fame to go to his head a bit, so that he has become more important than his message.
Dixon's performance was the best of a series of superb performances, and John Legend wasn't too far behind with his take on Jesus - a very human Jesus, confused by his growing fame and increasingly disturbed by where his fame was taking him.
In scenes they shared, the two worked together brilliantly. As Mary Magdalene, Sara Bareilles my favourite singer! But her musical performances were great, which I expected, and she and John Legend had a real chemistry as Mary comforted Jesus repeatedly. As an actress, she did a good job of allowing her facial expressions to reflect the emotions that Mary herself would have been feeling in the circumstances.
I was not entirely taken with Alice Cooper's turn in just one scene as King Herod, although he proved himself to be quite the showman. For contact tracing purposes, you, as the ticket purchaser will be considered the primary contact for your group and will be expected to have contact info for each member of your party.
Data collected for the purpose of selling a ticket and contact tracing will be kept in accordance with our privacy policy. Download the Mirvish App. Patron Alert: High Call Volume. Jesus Christ Superstar Groups of 15 or more save. Call 1. Dates November 30, - January 2, Running Time 1 hour 35 minutes no intermission. Audience Advisory Theatrical haze, fog, flame and glitter. Follow Mirvish on. A gorgeous, thrilling, heavenly musical.
Jesus Christ Superstar Calendar. Too often mis-labeled a musical, this film is a "rock opera. Did you know Edit. Trivia Actors were required to "hydrate" every 20 minutes while on location in the desert. Huge, multicolored blocks of ice were brought in from Tel Aviv. Goofs Differences from the source material are not to be counted as goofs. Historical inaccuracies, such as tanks and guns in the year , are also not counted as goofs, especially when related to artistic decisions.
Quotes Judas : [singing] All your followers are blind, Too much heaven on their minds, It was beautiful but now it's sour, Yes it's all gone sour Connections Edited into Hollywood Burn User reviews Review.
Top review. Saw it in '73 when I was We had the JC Superstar '8-track' and knew all the lyrics. We finally saw the film years later on t. I can't count how many times I've seen it and it looks as fresh and timeless as it did then.
0コメント