REVIEWS
'JESUS CHRIST, SUPERSTAR' HAS STAYING POWER
June 14, 2008
By Jack Zink | Sun-Sentinel.com
FORT LAUDERDALE, Fla. -- The big question following the latest national tour of "Jesus Christ, Superstar" has been whether Ted Neeley still has the chops after 37 years to carry the music, and the show. Yes he does, for the most part – and the economically retooled production around him has a few grace notes of its own.
The smash 1970 rock concept album first spawned blazing concert tours before morphing into a stage musical, in which Neeley understudied the JC role on Broadway in 1971. His breakout was the title role in the '73 movie, and he's been the anchor man for many a tour ever since.
The current production by a branch of Troika Entertainment has been on the road for two years and played the Kravis Center in 2006. At the moment, Neeley is effectively flanked by former Living Color lead singer Corey Glover as Judas and a mellow-throated Tiffini Dodson as Mary Magdalene.
They and a cast of two dozen more perform on a simple platform-and-scaffold set with lighting and smoke effects that vaguely evoke the show's early 70s concert tours. Raising the imagery to the show's theatrical standards are new directorial and choreographic adaptations by Troika cofounder Dallettt Norris and Arlene Phillips (Broadway's "Starlight Express"), respectively. The fusion of rock concert and musical theater appears to be the tour's sustaining framework.
Also in the rock concert mode, Andrew Lloyd Webber 's former orchestral fabric has been winnowed down to a five-piece rock combo. In the pit are a guitar, bass and drums, plus two electronic keyboards that at times simulate a virtual orchestra. The effects of violins, horns and woodwinds are passable but never approach the richness of a full musical theater experience.
New orchestrations are by Simon Lee, who was musical director of the most recent, 2000 Broadway revival. They're best when the guitar or bass lead with percussion underpinning in pure rock riffs, or when solo acoustic piano stylings accompany such key moments as Mary's "I Don't Know How to Love Him," an evocative rendition by Dodson. Her dramatic readings of the lyrical lines are excellent throughout her remaining performance, largely restricted to support and punctuation of the score.
Neeley's voice still has some surprisingly vivid colors in his power range. His career trademark falsetto screams are to some still a matter of debate, but there's no doubt he continues to accomplish what he sets out to do in those fits of righteous temper. At the age of 64, his voice is often dry, and it rattles when he's on the down side of long, taxing passages. But he overcomes most complaints with a dedicated performance, even those long pensive silent discourses with Christ's Father in Heaven that evoke a shaman with visions.
Glover's vocal performance as Judas smoothes out many of the burrs in the lyrical lines that were exploited in jazz syncopation by Neeley's former partner as Judas, the late Carl Anderson. In many ways, Glover's silkier and cleaner vocal style enhances the best side of Lee's orchestrations for the show's ballads and soliloquoys. Glover can, however, deliver power rock on call and does so often – his voice like Neeley's often falling to guttural under the strain.
Other assets are Darrel I. Whitney, an amazingly clear-throated basso as the high priest Caiaphas, able to switch to appealing high baritone licks; Craig Sculli as the tormented Pontius Pilate and Aaron Fuksa as a swaggering, frizzy-haired King Herod.
This is not a knock-down "Jesus Christ, Superstar" like some past incarnations, and doesn't seem intended to be. Its softer contours add balance and some warmth without straying into the feelgood world of "Godspell."
NEELEY RIGHT AT HOME IN 'SUPERSTAR'
June 12, 2008
By Michelle Parks
Arkansas Democrat-Gazette
FAYETTEVILLE, Ark. — Time hasn’t diminished the power of Jesus — or the impression made by the actor and singer who’s long played him — in the hit rock opera Jesus Christ Superstar.
The production Tuesday night at the Walton Arts Center starred Ted Neeley as Jesus, a role he’s played off and on over 35 years. With a cast of 27, the two-hour show covers the last seven days in Jesus’ life.
The rock opera by lyricist Tim Rice and composer Andrew Lloyd Webber started as an album, released in 1970, that became a rock opera that became a 1973 movie. With often clever lyrics, the story explores the relationships between Jesus, Judas Iscariot and Mary Magdalene.
Neeley, now 64, portrayed Jesus in that movie and was in theatrical productions of the show in Los Angeles and New York, as well as a national tour in the 1990s.
Neeley again brought the role of Jesus to life Tuesday night, with a voice unlike any other. It was gravelly and wornsounding at times. But his vocal range is quite good. And when he got to the high, practically screaming parts, he was simply impressive.
While the part has to be second nature to him, Neeley’s performance wasn’t tired or halfhearted. He gave it his all, and the crowd responded with thunderous applause at the end.
Corey Glover, lead singer of the group Living Colour, was amazing in this show. He brought a fresh personality to the role of Judas, who betrays Jesus. Glover was particularly good on “Heaven on Their Minds,” setting the tone for the whole show.
Tiffini Dodson, who played Mary, had sweet, solid vocals on “Everything’s Alright” and “I Don’t Know How to Love Him.” Darrel R. Whitney, who played Caiaphas, easily hit some interesting low notes on “This Jesus Must Die.”
The staging was simple with low, sloped platforms and an arched walkway across the back of the stage with stairs on each end. Performers dressed in flowing costumes of muted colors; Jesus was in white.
Toward the end of the first act, on “The Temple,” Neeley cut loose with the vocals. He powerfully screamed “get out” to the crowd in the marketplace. Then, he sang softly to God. It was a glimpse of things to come.
For the first scene in the second act, Jesus, Judas and the other apostles gathered and then struck the pose of the Last Supper scene — which garnered appreciative applause from the crowd. The male chorus of apostles was especially good in the serene-sounding song. They were interrupted when Jesus and Judas sang an intense, embittered duet, a part during which Glover’s acting shone.
In “Gethsemane,” Neeley seemed to find his voice, which became stronger and more confident. And he continued with more high-reaching screams.
In the scene, Jesus was emotional and mad at God. His anguished cries were cut short by thunder and lightning. So, he softened his tone as he prayed again to God. Feeling he hadn’t accomplished what he was supposed to, he was humbled and told God he was ready to die. This moving scene was Neeley’s best moment of the night.
Comic relief came when Jesus and his keepers visited King Herod, dressed in a bathrobe and surrounded by five scantily clad women. When Jesus wouldn’t turn water to wine or walk on Herod’s swimming pool, he dismissed him.
Mary and the chorus sang the touching “Could We Start Again, Please.” With “Judas’ Death,” Glover was again passionate and soulful with his singing and acting. As Judas’ spirit, Glover returned, wearing white pants, shirt and overcoat, along with three backup singers, to sing “Superstar.”
Pilate counted out the 39 times Jesus was flogged, a scene that seemed a bit drawn out, even in a show that’s slow-moving. But Neeley’s later depiction of Jesus’ crucifixion was memorably poignant.
The crowd was fortunate to see Neeley in this role while he’s still doing it.
NEELEY, 'SUPERSTAR' CAST DELIVER SUPERB SHOW
June 8, 2008
By
CHRISTINA GATES TUTOR
For The Birmingham News
BIRMINGHAM, Ala. -- Most of the audience at the BJCC Friday night would have been OK had there just been one person appearing in "Jesus Christ Superstar." All Ted Neeley had to do was walk on stage to garner applause. The fact that he stuck around to give a great performance earned him a longer-than-normal standing ovation.
After nearly four decades off and on playing Jesus of Nazareth in Andrew Lloyd Webber and Tim Rice's rock opera about Jesus' final days, Neeley could coast through the lyrics and still make an audience happy. Instead, he's no slacker - hitting the high notes and then taking them even higher. He is the veteran in this production, and it shows. Most of the rest of the cast, while talented, seems juvenile in comparison.
In the role of Judas Iscariot, Corey Glover (lead singer of the'80s rock band Living Colour) is very good, although he had a tendency to over-sing his big numbers, "Heaven on Their Minds" and "Superstar." Taking his enthusiasm down a notch would still leave it enjoyable for the audience.
As Mary Magdalene, Tiffini Dodson was shaky at first, but all was well by Mary's big number, "I Don't Know How to Love Him." (Though while it's obvious what the costume director was trying to say with her scarlet dress, it wasn't flattering.)
The sound in the Concert Hall was crystal clear, and the cast came together well as an ensemble, particularly with "Could We Start Again, Please." That was a moment of excellence.
Although Neeley has dismissed the thought that this could be a "farewell tour" for him, he can't do it forever, giving lyrics he sings like, "My time is almost through," even more poignancy. One day, Neeley will have to hang up the robe. Best to go see "Jesus Christ Superstar" while he's still wearing it.
An interview with Ted Neeley on WYKZ in Savannah, Ga.
POWERFUL, INNOVATIVE EFFECTS MAKE "SUPERSTAR" A STUNNER
May 15, 2008
By Richard Duckett
Telegram & Gazette reviewe
WORCESTER, Mass. --
The national touring production of “Jesus Christ Superstar” that came to the Hanover Theatre for the Performing Arts last night proved to be absolutely stunning on several levels.
That may be a bit of a stunner in and of itself given the age of the show (it was first performed in 1971) and that it represented what was a still youthful offering from the Andrew Lloyd Webber/Tim Rice team that would go on to have even greater successes (“Evita!” for example).
But this was as powerful and innovative-looking presentation of the show as one has seen. Which isn’t to say you couldn’t make criticisms — but even when the show made a couple of questionable decisions they were at least interesting calls.
In any event, hardly anybody in the sold house of 2,300 people was going to make any complaints last night and they rose to give a standing ovation at the end. Expect more thunderous applause when “Jesus Christ Superstar” concludes its visit to an already sold-out Hanover tonight.
There actually is the sound of thunder in the show, and a very skillful use of lighting is one of this production’s hallmarks. Right at the beginning, the lighting effects framed Jesus Christ in an artistically striking tableau with his disciples. We’re talking about lighting, but actually this was a rather dark, and almost bleak, rendition of Jesus’ last seven days. Looking on critically from the sidelines is Judas, whose role as disenchanted observer obviously provided Webber/Rice with a model for Ché Guevara in “Evita!”
But “Evita!” elicits more smiles than this “Jesus Christ Superstar,” and “Godspell” from the same time period is the warmer work (was the show really so bleak back in 1971?).
Still, there was no denying the dramatic effect that this touring production gets across. And Webber wrote some great music, which is given mostly full justice by an excellent — and large — cast.
The upper register for some of the men did prove a challenge, including Ted Neeley as Jesus. On the other hand, Corey Glover as Judas has a tremendous singing voice.
But going back to Neeley, his casting is one of the more intriguing aspects of this production. He’s performed the part for many a year, but, simply put, he now looks too old for the role. One person in the audience could be heard making the observation (a fascinating one, considering its theological implications) that “he looks old enough to be his grandfather.” The Southern nature of Neeley’s voice is a surprise, as well. And yet he did act the part with force and conviction. In scenes when the emotional notch got turned up high, Neeley was right there. Right on with her performance and singing voice was Tiffini Dodson as Mary Magdalene.
Meanwhile, the direction and choreography by Dallett Norris and Arlene Phillips went from strength to strength (although the shadings were ever darker), culminating in the visually stunning trial before Pontius Pilate.
NEELEY AND CAST MATES SPARKLE AT THE KIRBY CENTER
May 14, 2008
By BRAD PATTON | For The Times Leader
Ted Neeley is truly amazing.
WILKES-BARRE, Pa. -- The 64-year-old actor, who has played the title role in “Jesus Christ Superstar” off and on for more than 36 years, wowed a near-capacity crowd at the F.M. Kirby Center for the Performing Arts once again on Tuesday with his vocal prowess and his stirring portrayal of Jesus’ last seven days.
Neeley’s vocals on “Gethsemane,” the song in which Jesus decides his fate, were remarkable as he matched or bettered the performance he gave in the 1973 film version and earned his first standing ovation of the evening. His wailing of “Get out!” at the end of “The Temple” is still powerful, probably more so live than it is on film or record. His acting was superb as well, especially during the crucifixion as the audience hung on his every word and breath.
But the national touring company’s performance of the play with music by Andrew Lloyd Webber and lyrics by Tim Rice is hardly a one-man show.
Corey Glover, the lead singer from the late-1980’s rock band Living Colour, was riveting as Judas Iscariot and sang strongly on “Heaven On Their Minds” and “Damned For All Time,” and triumphantly on “Superstar.”
Tiffani Dodson was equally fine as Mary Magdalene as she belted out perhaps the two best known numbers, “Everything’s Alright” and “I Don’t Know How To Love Him.”
Craig Sculli as Pilate was another standout. His version of “Pilate’s Dream” was a highlight of the first act, while his dramatic singing during the trial brought that scene to life.
Aaron Fuksa nearly stole the show during the always entertaining “King Herod’s Song,” which was updated with a calypso arrangement.
The play, which began life as an audio-only rock opera, has had a long and successful history. The first album, with Deep Purple’s Ian Gillan as Jesus, Murray Head as Judas and Yvonne Elliman as Mary, reached No. 1in late 1970. Two versions of “I Don’t Know How To Love Him” reached the Top 40 in May 1971 as Elliman’s rendition went to No. 28 and Helen Reddy’s recording went to No. 13. That same month, “Superstar” credited to Head with the Trinidad Singers reached No. 14.
The musical opened on Broadway a year later, and that cast’s album featuring Ben Vereen as Judas reached No. 31 on the charts in January 1972. In June of that same year, Neeley gave his first performance in the initial national touring company production. The film version, for which Neeley was nominated for two Golden Globe awards, was directed by Norman Jewison and debuted in 1973. The accompanying soundtrack album featuring Neeley, Carl Anderson and Elliman reached No. 21.
A revival was staged in 1996 and again in 1999, and a 2000 version garnered a Tony award nomination. This current production, directed by Dallett Norris and choreographed by Arlene Phillips with musical direction by Michael Mitchell, has been on the road since 2006.
The staging was simple yet effective, with good use of lighting especially during the overture when Neeley first appeared and during the temple scene. The stage was bathed in red light while Glover sang about “blood money” in “Damned For All Time” and strobe lights were employed during “Superstar.”
The orchestration of mostly electric guitar, bass and drums was superb. “Pilate’s Dream” had a nice acoustic sound, while the majority of the rest of the numbers rocked. The sound was phenomenal, both technically and musically.
Although Neeley has downplayed it, this is reportedly his farewell tour. Whether or not that’s true remains to be seen. Two things are certain though, one is that Neeley has left his mark on the role over the past 36 years. And on Tuesday, he and his cast mates gave the crowd at the Kirby Center a night to remember.
NEELEY STILL SHINES IN "SUPERSTAR" ROLE
April 20, 2008
By Carrie Gruman-Trinkner
For The Post-Crescent
APPLETON, WISC. -- More than 30 years ago, this critic sat in a darkened theater and watched Ted Neeley wail the title role in Webber and Rice's controversial rock opera "Jesus Christ, Superstar."
Decades later, he reprised the role at Neenah's Pickard Auditorium. His latest incarnation of the human character of Jesus is currently playing at the Fox Cities Performing Arts Center in Appleton.
Thirty-plus years, and the man can still wail.
The voice is still there, although the years of abuse have taken their toll. There is an edge present whenever he sings. But Neeley inhabits the role so completely, some flaws can be excused.
While Neeley is the obvious star, one voice stands out in this cast as being by far the best.
Craig Sculli in the role of Pontius Pilate is superior in every aspect. His vocal control, warmth, depth and articulation reminds one of a young Frank Sinatra (minus the crooning slides).
Sculli outshines even the brightest stars in the cast. This is a voice to listen for in the future. It holds the promise of great things. It is a shame his current role is so small.
Always a crowd pleaser, the Herod scene is played with great aplomb by Aaron Fuska.
Tiffini Dodson, in the role of Mary Magdalene, has a lovely, rich voice. She lifts easily from chest voice to head voice without a trace of strain. Her numbers are as lovely as she is.
Corey Glover brings to life Judas Iscariot, the betrayer and ultimate Greek Chorus. Glover has some amazing moments, the best of which is the Last Supper through the arrest when he allows that rich voice to soar without forcing it.
Darrel R. Whitney and Michael Wright play the vocally complementary pair of Caiaphas and Annas. Whitney sings the shockingly deep tones of the basso profundo while Wright complements with his tenor range.
The company itself has a wonderful energy and a great ensemble sound. Standouts include Nate Aylworth as Peter and Lorelei Prince. Both have a true presence in their scenes and are hard to turn from.
The touring orchestra is made of almost entirely electronic music from the keyboards to the drums to the guitars (with the exception of some lovely moments on acoustic guitar). Nicklas Dickerson is outstanding on the guitar solos that are so critical to the sound of this rock opera.
For those who have loved this show for decades, see it again. It will not disappoint. For those who have never seen "Jesus Christ, Superstar," this is the tour to catch. It will make you a lifelong fan.
NEELEY SHOWS HE'S A TRUE 'SUPERSTAR'
April 14, 2008
By Sarah D'Esti Miller
Press & Sun-Bulletin
BINGHAMTON, NY -- One of the first critical observations people may have about the current tour of "Jesus Christ Superstar" and its star, Ted Neeley, is that at age 65, Neeley -- who played Jesus in the 1973 film, in thousands of subsequent performances and has become legendary doing it -- is considerably older than Jesus of Nazareth. This is true, but people didn't seem to have a problem buying the 350-pound Luciano Pavarotti as a romantic leading man, did they?
A legend is a legend, and this tour, which stopped at the Forum Theatre in Binghamton for two performances Sunday, is the chance to see Neeley do what he does best (as for his being 65, well, many could only hope to be in as good a shape as Neeley). But the show is definitely not all about Neeley. The show is filled with impressive voices, some of them relative newcomers, and some solid acting by all.
Corey Glover is undoubtedly best known as the lead singer for the best-selling rock band Living Colour, but he seemed to have little difficulty taking on the role of Judas, delivering a potent sound, whether stratospheric or simmering below the surface, as he did for the reprise of "I Don't Know How to Love Him." Speaking of that number, Tiffini Dodson as Mary Magdalene has a lovely voice that is well suited to such numbers as "I Don't Know How to Love Him," but actually shone best in "Could We Start Again, Please." Craig Sculli has a fine and versatile voice as Pontius Pilate, and the voices of Darrel R. Whitney and Michael Wright make you wish that the roles of Caiaphas and Annas, respectively, were just a little bit bigger. And apparently they could be if the creative team decided to do it; other parts of the show have certainly been changed. Lyricist Tim Rice has swapped out Caiaphus' line about "One thing I'll say for him, Jesus is cool," in favor of something about "infantile sermons" and "multitudes." Composer Andrew Lloyd Webber has changed the campy "King Herod's Song" (which still sticks out like a last-minute realization that the show needs some comic relief) from a vaudeville number into a calypso/Caribbean song.
As for Neeley, well, he pretty much owns the role of Jesus in "Superstar," and he still has the goods as Jesus, alternatively wailing and growling through the music as he heals the sick, expresses his frustration and gives his life over to the Romans. Neeley is sympathetic as Jesus. He somehow exudes a kindliness and paternal caring that make his whipping and crucifixion tough to watch. Neeley has said "Superstar" will go on forever no matter who has the role, and that may be the case; but nobody will ever do it like Neeley.
Jesus Christ Superstar 2008
March 11, 2008
By Brooke Palmer
InvasiveThoughts.com
Each production of Jesus Chris Superstar that I have seen, on stage and the movie, has a very fine linear parallelism of characteristics, but there are also always some noticeable differences. The similarities that have amazed me most are each director’s ability to find an appropriate actor to fill a role that contains the same vocal quality and mannerisms of a particular character while also having the necessary talent to play that character. Over the years, I’ve witnessed different actors take on the feminine, silky vocal stylings of King Herod while also maintaining his character’s goofy external demeanor; I’ve witnessed different actors in the role of Caiaphas who can amazingly belt out their lines an octave lower than all the other male vocalists, and do it with style and meanness; and I’ve watched different actresses, of different ethnicities, fill the smooth, soothing head-voice of Mary. In all of these productions, the one actor who did not change was Ted Neely, always filling his role as Jesus with the same gusto and grace as before.
All the qualities described above can be attributed to the 2008 production of JCSS, directed by Dallett Norris and choreographed by Arlene Phillips. Ted Neely, having played Jesus for about 30 years now, was every bit as powerful and sorrowful. Perhaps the most unique enactment of their character in this production, however, was Corey Glover’s version of Judas, which seemed to add just a little more funk than the previous Judases I’ve seen and heard.
The major difference that I noted between the 2008 production and others I’ve seen was in the quality of the production itself. Perhaps my mind is forgetting the past, but it was the combination of the lighting, the costumes, the sound affects, the instrumentation, and the actors’ vocals in the 2008 production that stood out to me as a superior stage production.
The lighting was the first aspect of the production, visually, to make an impression. Each moment of the musical was emphasized by strategic colored lighting. The colors and direction of the lighting highlighted each musical note, emphasizing the mood of each song; criss-crossing red hues set a solemn tone, bright white spotlights captured Judas, not letting him escape his own guilt.
The lighting also complimented the costumes as colors, shapes, and degrees of light and darkness worked together to create dramatic shadows. The fabric was not fancy, and the colors were solid, but they were just the right colors to affect a scene, adding beauty and dimension.
Then there were the special effects that were unexpected, always in conjunction with a moment of Neely vocal madness. When Jesus was angry, lashing out at God or at others, God would react with earth-shattering explosions of sound, light, and smoke, all of which rocked the audience down to our bones. It was intense. But not overdone.
As for props, very little at all were used. The sets consisted only of a bridge with a couple ladders on either side, and huge silk tapestries that provided the backdrop during different scenes.
A scene in which all of the elements of the production worked amazingly well together was “The Temple,” when the costumes, the dancing, and the music combined was almost overwhelming. But the scene with the lepers was the most unique of all iterations of the show. The instrumentation slowed down more than usual and became extremely funky, with staccato rhythms and percussive vocals. The lepers’ bodies were buried under a green, silk tapestry, which swayed and waved over them as only their heads were visible.
The instrumentation in general was actually funkier and more electric sounding than other productions I’ve witnessed, and helped set apart the 2008 production yet again.
One of the most impressive aspects of the musical, in addition to all of the tangibles previously described, were the vocals of each and every actor in the show. When singing together, the chorus would maintain a consistent sound, working together dynamically. Individually, however, the vocals were breathtaking and heart breaking.
Aside from Glover’s rendition of Judas (I’ve been a fan of Corey Glover for several years), my personal favorites were Matthew G. Meyers’ Simon and Craig Sculli’s Pontius Pilate. Coming from a short, chubby white guy, Meyers’ vocals in “Simon Zealotes” were so large and soulful that I craved to hear more of him. Likewise, Sculli’s emotionalism in “Trial Before Pilate” made my heart race to listen to him.
One of the most heart-breaking vocal moments in the production was when Glover, whose style was chesty and funky the rest of the time, broke down into a soft yet deep head voice during “Judas’ Death.” I found this brief solo to be his most well-acted and well-sung moment in the musical.
And then there was Neely. I didn’t really believe it when during a phone interview Glover told me that Neely’s voice was even better now than it was 30 years ago when he began his role as Jesus, but now that I’ve seen this 2008 production, I believe. I don’t know how it’s possible, but the man can both sing and scream (in tune, for about 30 full seconds without faltering) with such emotion and power that the audience gasped with simultaneous awe and joy. His solo “Gethsemane,” which has always been my favorite song in the musical along with “Heaven on Their Minds,” was the most amazing performance in the whole musical, and brought tears to my eyes.
The final scene of the production was perhaps the most visually powerful scene of the entire production. As Neely hung from the cross, he heaved and gasped, contorting his body and chest in such a way as to look measly, sick, and starved. He truly appeared to suffer. And when he finally died, his body, held by invisible lines of some sort, lifted from the cross and was ever so slowly raised up, still in the crucifix position, disappearing through the top of the stage. Though a simple and cliché image, the vision of his spirit ascending to heaven was terribly beautiful and emotionally powerful.
Aside from a few somewhat cheesy hand gestures (such as when Jesus would inaudibly speak to His Father, or when Judas would communicate with Jesus and the other apostles) that were repeated throughout the show, the production as a whole was amazing. And though I was fortunate enough to have been given press seats by the company, I have offered to buy tickets for my sister so that she can enjoy the production, and I am tempted to try to find another venue at which I may see the show. I want to experience it again. But for now, I will try to hold the memory of the sensations felt from my seat in the audience tightly in my soul
March 6, 2008
"A POWERFUL MUSICAL "
March 5, 2008
From GoCityKids
Jesus Christ Superstar at the Cobb Energy Performing Arts Centre in Atlanta is a rock opera - and the first musical by Andrew Lloyd Webber andoat the
Tim Rice to be produced on the professional stage. It debuted in 1971, but 2008 audiences won't find anything dated about this work of spiritually-centered musical theatre, covering the final days in the life of Jesus of Nazareth. But, as they might've said in the 70s, it's heavy, man.
We recommend this show only for children older than 13, who have been well-prepared for what they'll see on stage. Theatre-goers not familiar with the story would be wise to read the scene descriptions before the lights go down.
Ted Neeley, who gave a Golden Globe-nominated performance in the film version of Superstar plays the role of Jesus. Corey Glover, lead singer of Living Colour, plays Judas. The conflict between the two men is at the center of the show, which depicts a Jesus who is exhausted by his efforts to lead through spirituality, and a Judas who is both frightened and jealous of him.
Monochromatic costumes and bare scenery make for an austere production, and because we know where this story ends, there are few light moments. The music is, as expected, pretty great, and when Jesus lets go with some high-pitched wails, everyone is at the edge of their seats. Songs like I Don't Know How to Love Him and Everything's Alright are melodies that stay with you, and comic relief comes in the form of Kind Herod's lighthearted romp of a song, backed by gilded lovelies.
In the beginning of Act II, Jesus and the apostles recreate the poses captured in Da Vinci's Last Supper, and you can hear the audience react to the well-known image, brought to life.
The final moments of the show find Jesus on the cross, with both his mother and Mary Magdalene close by. After he expires, he is lifted above the stage in symbolic ascension, and the stage goes black.
Tweens and teens in the audience commented that this scene "went on forever," but it is a powerful ending to this very powerful musical.
"JESUS CHRIST SUPERSTAR -- RESURRECTION OF A CLASSIC "
February 25, 2008
By: Dwight Casimere
The Times Weekly
When I saw the original production of Jesus Christ Superstar on Broadway in the early 70s, featuring a then-newcomer, Ben Vereen as a hyperkinetic Judas (he would win a Tony award for that role in 1972), it was obvious that producer and writer Andrew Lloyd Webber had become a major force in the world of the theatre.
I would next see Webber in person 15 years later in the tow of Prince Charles in the rooftop restaurant atop the Royal Garden Hotel in London, just steps from Kensington Palace, with his then-wife, singer Sarah Brightman on his arm, at the premiere party for the new musical Phantom of the Opera, in which Brightman starred.
In 1992, Weber would himself, join the ranks of royalty, with a peerage, knighting him as Sir Andrew Lloyd Weber.
Broadway in Chicago presents the National Tour of Jesus Christ Superstar. It features Ted Neeley in the title role. Neeley headlined the first touring company that opened at the Universal Studios Amphitheatre in 1972. That occurred as the original Broadway cast recording topped the album charts an astounding three times. This week’s performances at Chicago’s Cadillac Palace Theatre, proves that this is a groundbreaking theatrical masterpiece that resonates as deeply today as it did more than 35 years ago.
Neeley has lost none of his fire as Jesus. Having not seen the production since its inception, I was moved by how visceral his portrayal is. His voice, at once echoeing Joe Cocker, an impassioned Ray Charles and a fiery Mick Jagger , lifted the words of Christ from scripture and made them come alive. Listening to the lines, its amazing how closely they mirror Scripture. The fact that the book and score is rock-based, makes them even more powerful. The lift the story of the Passion out of antiquity and rocket it firmly into the modern age. As written by Mssrs. Webber and Rice, It is a stunning achievement.
Forget Mel Gibson and his soulless “Passion of the Christ”, this is a musical that gives Jesus a real heart and a whole lot of soul!
Living Colour’s Corey Glover drives it further into orbit with a rock ‘em, sock ‘em portrayal of Judas in his National Tour debut.
Aaron Fuksa steals the show as an hilariously fey Herod. Craig Sculli ‘ brings it’ as Pontius Pilate. Tiffini Dodson as Mary Magdalene delivers the signature song “I Don’t Know How To Love Him” with a conviction that makes you forget how many times you’ve heard this song before.
The production, directed by Dallett Norris, Choreography by Arlene Phillips, Music Direction by Michael Mitchell, is first rate all around. The final scene, as Jesus is lifted to the heavens, is especially moving. The Touring Orchestra gets extended Bravos for an exceptional performance. Lighting Designer Rick Belzer worked overtime to create the spectacular look of the production and Scenic Designer Bill Stabile and Costume Designer Fabio Toblini further added to the polished look of this first rate production.
"NEELEY PACKS CADILLAC IN CHICAGO"
February 23, 2008
By Michael Roberts
There was truly something to behold at the opening of Jesus Christ Superstar on Tuesday at the Cadillac Palace Theatre. A whole new generation of fans flocked to theatre to see not only one of the greatest stories ever told, but also one of the most amazing performances ever by an actor, Ted Neeley. Neeley who gained international fame and two Golden Globe nominations playing the Messiah in Norman Jewison’s hit 1973 film version of Andrew Lloyd Webber and Tim Rice’s rock-opera masterpiece has defied time and age sounding better in this latest tour then he did in the mega hit A.D. tour from 1992-1997.
The musical follows the last seven days of the life of Christ told by Judas’ perspective. The musical has gone from one of the most controversial pieces of theatre ever written to one of the most beloved. With a score that boasts some of the most recognizable songs written “Everything’s Alright”, “I Don’t Know How to Love Him”, “King Herod’s Song” , “Gethsemane” and “Superstar”) this current tour keeps the story as the centerpiece, and that above all is what propels Jesus Christ Superstar into the emotional stratosphere. Those of have seen the ridiculous updated London and Broadway revival and tour during the first half of this decade can now revel in the glory and majesty of the story.
This is not to say that the staging is simple. Director Dallett Norris has very creatively combined elements of the both movie and the nineties tour including the cross coming out of a steel mesh stage, but also makes his vision stand on its own with fabric flys and ingenious movement particularly in the leper number.
There is not a weak link in this cast either. From Corey Glover’s (Living Colour fame) conflicted portrayal of Judas to Tiffini Dodson’s magnificent and understated performance as Mary Magdeline, the cast and chorus rock the theatre in pitch perfect clarity. Special mention also has to be given to Aaron Fuksa, who is hands down one of the best King Herod’s to play the role. Especially fun is the new calypso arrangement of King Herod’s Song.
As stellar as the supporting cast was, the evening belongs to Ted Neeley who stopped the show twice in both the Temple Scene and of course Gethsemane. It was hard at first to see Neeley without his longtime friend Carl Anderson, who played Judas in the original L.A. production, film and subsequent tours with Neeley. Anderson unexpectedly passed away several years ago. Neeley’s performance is different this time around, in part because of the loss of Anderson. Neeley’s portrayal of Christ seems much more matter of fact then in prior tours and really foreshadows his death during the “Everything’s Alright” number rather than later in the show.
The admiration the cast has for Neeley is felt throughout the show and when the crucifixion occurs, not only is the audience in convulsive tears, but so are numerous member of the cast. Neeley has a following unlike any I have ever seen crossing over to fans in both the rock-n-roll arena and the theatre fans who come back to see him time and time again. That kind of connection with an audience is truly spiritual
See interview with Ted Neely
January 8, 2008
"SUPERSTAR ROCKFABULOUS AS EVER"
By Heidi Walters
www.northcoastjournal.coast
The night lurked, heavy with portent, as a sickly white substance filtered through the theater’s airspace and settled ever so lightly about the seated audience, who breathed in and breathed out. In. Out. The lights were still on, so this was odd: Every particle of mysterious white dust visible to the frightened eye; heaven revealed too soon, too fast. Some entered the packed theater with apprehension: “What is that white stuff?” they asked an usher. The usher replied, “I don’t know. I hope it goes away soon.”
Ah, has it been that long? That long since we enjoyed a genuine rock opera starring heaven above and the Lord’s son on Earth, below? With strobe lights (those came later, when the lights were off) and fog effects? Maybe. The audience at the Tuesday night showing of Jesus Christ Superstar — lyricist Tim Rice’s and composer Andrew Lloyd Webber’s famous rock opera, first performed on stage in 1971 and now once again touring the land — leaned on the older side of life, predominantly white-haired and many accompanied by mobility aides. And even the superstar of the show — the amazing, power-screeching Ted Neeley — looked aged (and wise, natch) as he performed perfectly and for the umpteenth time in the role of Jesus.
Which is all to say that though the show was as rocktabulous as it ever was and incredibly fun and moving — I saw tears in more than one viewer’s eyes — the age of Neeley (twice that of his character’s) mingled incongruously with the youth of his costars and some of the funkster musicians in the orchestra pit, and with the evergreen story itself. The juxtaposition had the deliciously time-bending, if unintended, effect of making it seem that Jesus himself was up there on stage, having come back at last and then somehow gotten roped into starring as his younger self in this old-school rock opera. He was real. His wisdom was accessible in the lines of his face and the droop of his mouth and the glinty patience in his eyes. His repeated song, “Then I was inspired, now I am sad and tired; it’s been three years, but it seems like 30 years” couldn’t help but have double meaning. It has been 30 years.
In light of Neeley-Jesus’ age, the hopeful eagerness and fawning of the pastels-clad, clapping and singing apostles and their women made more sense. The gentle, protective nurturing of Mary Magdalene (a show-stealing Tiffini Dodson, lush in her blatant red dress) came across more as daughterly affection than lover’s possessiveness. And his mixture of love and distrust of Judas (Living Colour’s boisterous, deeply talented Corey Glover) seemed fatherly. Glover, in turn, while himself older than most of the other performers and therefore also mantled with the authority of age, next to Jesus seemed less a doubting friend and more a son betraying his father in one of those massive generation-gap misunderstandings. Helplessly, pulled along by fate and youthful arrogance, he betrays his friend, leader, father-figure — then suffers the death of his idealism and is induced to hang himself by Caiaphas (Darrel Whitney, whose creaky-deep, eerie voice digs into your bones, seeking marrow) and the priests, clothed in black, who have killed Jesus.
After the show, out in the strangely mild January night, a gray-haired man said to his gray-haired companions, “I liked the second half better than the first half.” A wag walking past — just a hint of gray at his temples — overheard and muttered, “That’s what people say about the Gospels, too. That’s because there’s more action. Jesus is whipping the money changers, facing Pilate, giving speeches.”
Just like us non-kids. Going to the rock opera. In the second half of our lives. Sucking in some danger, exhaling joy and fear and relief and wonder. Simultaneously reliving our youth and preparing our next wise and fiery speeches. Right?
January 18, 2008
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January 9, 2008
"SUPERSTAR" LIVES UP TO ITS BILLING
By MOLLY BETTIGA
www.voiceofsandiego.org
Do this. Watch this clip of the song "Gethsemane" from the 1973 film "Jesus Christ Superstar" starring Ted Neeley. At 3:05 seconds into the clip, Neeley lets loose with an awesome, rock-star scream as he sings.
Now imagine hearing that live.
Last Wednesday night, more than 30 years after that clip was made, I heard the legendary Ted Neeley live. Starring in the tour of "Jesus Christ Superstar" in San Diego through Sunday, Neeley held that same wailing high note longer than I could have envisioned.
Originally an audio-recording, "Superstar" was the original rock opera, using both classical and rock elements in the musical arrangements. The music and lyrics, by Andrew Lloyd Webber and Tim Rice, dramatized Jesus Christ's final week of life and his crucifixion. In 1971 the "Superstar" musical opened on Broadway to mixed reviews and caused some controversy, obviously due to the touchy subject matter. In 1973, a motion picture was made of "Jesus Christ Superstar." Ted Neeley was nominated for two Golden Globes for his ground-breaking performance as Jesus.
Gentle and graceful, Neeley skillfully encapsulates the role of Jesus. He's soft-sounding and a little scratchy voiced during quiet songs, but he roars like a lion when provoked as in the wrenching "Gethsemane" number where Jesus demands answers from God. Neeley, world renown for playing this role on and off for decades, proved he has mastered the part; musically he hit and maintained the crazy high notes in songs, and theatrically with the climactic crucifix scene.
Though centering on Jesus, Judas' role in "Superstar" shares the spotlight equally. The production opens with Judas, originally an apostle of Jesus, fretting over Jesus' growing masses of followers. It's an important role as Judas becomes narrator for part of the show. As Judas, Corey Glover hit the stage at full throttle, wowing the audience with his explosive and impassioned portrayal of a man tortured by doubt. Glover characterized Judas' psyche with each song, illustrating Judas not as wicked but as human. Glover's absolutely riveting contribution was priceless. (Trivia: Glover and his band "Living Colour" had a hit in the late 1980s/early 1990s with the song "Cult of Personality.")
The story unfolds as Jesus' popularity reaches frightening proportions and high-ranking priests, who have gotten wind of this, decide Jesus must be killed. The ensemble cast's energizing performances boosted the entire pace of the production. The priests unnerved the audience with their sinister presence and the manic disciples of Jesus delighted with their chorus of "Hosanna."
Supporting roles included Tiffini Dodson as Mary Magdalene. Sweetly-voiced Dodson held her own in a duet with Neeley and carried the hit song, "I Don't Know How to Love Him" both tenderly and capably. Aaron Fuksa's turn as King Herod was a real crowd pleaser. Dressed in Crocs and a silk bathrobe, Herod's number adds some comic-relief to an otherwise heavy story.
Special mention goes to Craig Sculli's ferocious Pontius Pilate. Angry, ashamed and too weak to save Jesus, Pilate makes the final order for the crucifixion. Sculli's searing performance oozed formidable personality.
With only an expansive steel bridge on stage, the simplicity of the sets showcased the complexities of the music and story. Effective lighting: beams of light, starry nights and angry red backlights added richness to the sets.
Well-worth the price of admission.
P.S.: Jeers to the man in the row behind me who loudly sighed, "OK!" during the crucifixion scene.
January 2, 2008
SUPERSTAR STILL SHINES "AND IS EXQUISITE TO THE EAR"!
From the San Diego Union Theatre Scene
Like day and night…that’s what attending Opening Night (Wed 1/2) and a repeat viewing, 3-nights later, on Sat (1/5) was like, of Broadway SD’s presentation of Rice & Webber’s JESUS CHRIST SUPERSTAR at the SD Civic Theater. Over many, many years that JESUS CHRIST SUPERSTAR has played all over the world, its many, many different interpretations (including the popular contemporary all-leather and chains costumed version on Broadway a few years back), this production of JESUS CHRIST SUPERSTAR is rather slick, though a bit-watered-down from its former hard-rock intensity, and scaled-down to a manageable touring size company, yet…a sweet-rock musical (if you will) and, the superb Tim Rice and Andrew Lloyd Webber score still shines and is exquisite to the ear!
Special technical ‘kudos’ must be accorded to Duncan Robert Edwards’ terrific sound design and, at the Saturday (1/5) evening performance, every single lyric could be understood, loud and clear, even with the penetrating Michael Mitchell-directed music score. The lighting design of Rick Belzer gave the simple set scaffolding its many different looks, and emotional impressions, and he scored very effectively in his lighting with the title song ‘SUPERSTAR’ (end of Act II) in which the bare-arms and shoulders of the ensemble singers-dancers (otherwise dressed in all black) in their ‘armography’ really came off great (almost like black-lighting).
Great vocals were the calling cards of Corey Glover (as JUDAS) giving good memory competition to the original JUDAS, Carl Anderson, who played the role from 1992-1997 (before he died). Corey has the vocal-chops and high-end emotional pitch; perhaps more shades of humanness should be seen in the early development scenes. Tiffini Dodson (as MARY MAGDALENE) possesses the sultry alto voice to carry off songs like I DON’T KNOW HOW TO LOVE HIM to the eager audience. She also has a ‘great bod’, though perhaps too revealing for the image of MARY, but you won’t hear anyone complaining from the balcony. Craig Sculli (as PONTIUS PILATE) scored the bulls-eye in equal proportions as an actor (dynamic) and singer (equally passionate), and deep basso-voiced Darrell R. Whitney (as CAIPHAS) head-villain, who captured the essence of the times and period of resistance to the new Messiah. I reacted better at this Saturday night performance to Aaron Fuksa’s (as KING HEROD) in a totally re-staged version of KING HEROD’S SONG (one has to get use to), as it is a bit like a CHARRO (coochie-coochie) ad-lib take-off! The choreography of Arlene Phillips sparkled in one particular number SIMON ZEALOTES, with the whole cast, featuring a powerhouse voice by Matthew G. Myers (as SIMON). The most beautiful ensemble song was Act II’s COULD WE START AGAIN, PLEASE.
Here, I believe it is safe to say…save the best for last! The unquestioned ‘triumph’ of this JESUS CHRIST SUPERSTAR is the legendary Ted Neeley (as JESUS). Like a fine diamond, 36-years (over 4,000 shows) performing this challenging role of JESUS of NAZARET (can you believe, 4-years longer than the oldest member of this company…at 31 years?), Ted Neeley is a phenomenon to behold! His signature ‘Jesus anguish scream’ unequaled by any other singer to ever perform this role, brought the first ‘roar’ of excitement from the house, and Neeley’s yet-to-be-topped, stop-the-show (and he did) interpretation of GETHSEMANE, THE GARDEN, earned Neeley pro-longed ecstatic applause! Like Jennifer Holiday’s ‘And I Am Telling You’ show-stopper from DREAMGIRLS, the song GARDEN OF GETHSANAME is one of Broadway’s greatest solo tour-de-forces songs (most difficult to sing), and nobody does it better than Ted Neeley. Also, one cannot be more impressed than with Neeley’s perfect pitch, even his anguish screams…they are right on musical pitch…amazing! For the future, Neeley (now) has written and is developing a new musical work PANDEMONIUM for the Broadway stage.
January 3, 2008
NEELEY HOLDS UP WELL IN "JESUS CHRIST SUPERSTAR" TOUR
By: PAM KRAGEN -- Staff Writer
For fans of the 1971 rock opera "Jesus Christ Superstar," the main attraction of the tour playing through Sunday at the San Diego Civic Theatre is its star ---- Ted Neeley, who has continued to play the title role ever since he starred in the musical's 1973 film version.
At 69, Neeley is more than twice the age of Jesus when he died, and it's impressive that he can still hit some of the growling, stratospheric notes in his solos. But what makes his performance memorable on tour is his acting. His gestures are paternal, his stage presence warm and gentle and his suffering on the cross is almost painful to watch.
But the real star of the Andrew Lloyd Webber/Tim Rice musical has always been the disciple Judas Iscariot, and the touring production has an exceptional singer/actor in the role ---- Corey Glover of the rock group Living Colour. The searing falsetto notes of his solos are nearly impossible to sing in ear-pleasing fashion, but he sings on key, in control and with clear diction. And he delivers a heartfelt, honest performance as the disciple who betrays Jesus.
When it first debuted 35 years ago, "Jesus Christ Superstar" ---- which chronicles the last seven days of Jesus' life from Judas' perspective ---- was the subject of great controversy. Some critics felt it depicted Jews in an unfavorable light (in the musical, high priests plot to kill Jesus, and the Jewish people turn on him after he's arrested) and that it painted too sympathetic a portrayal of Judas. But attitudes have changed since National Geographic published what scholars have called the "Gospel of Judas." The newly unearthed ancient scripture depicts Judas as Jesus' closest friend, whom Jesus directed to betray him so that he could fulfill his destiny as a martyr.
Born in the era of Led Zeppelin, "Jesus Christ Superstar" featured acid-rock guitar licks and screaming vocals (a la Zeppelin's Robert Plant). This is hard on the ears for the uninitiated, but the tour has a strong ensemble of vocalists to bring the score to life in its original fashion.
Neeley's signing voice has thinned and roughened with time, but he stylizes his vocal delivery, lowers the register for some stanzas, speaks some lines, and then roars like a man half his age in the second-act showstopper, "Gethsemane."
Tiffini Dodson is voluptuous and earthy as Mary Magdalene, the prostitute who comforts Jesus, and gets to sing two of the show's best-known songs "Everything's Alright" and "I Don't Know How to Love Him."
Standout vocalists in the ensemble include Matthew G. Myers as Simon in "Simon Zealotes" and the basso profundo Darrel R. Whitney as the plotting pharisee Caiaphas. Craig Sculli also stands out as Pontius Pilate, the Roman ruler who struggles with the responsibility of executing Jesus. He's got a versatile, flexible and powerful voice and clear enunciation for his second-act solos. And Aaron Fuksa adds some much-needed humor and ad-libbing to the show as the flamboyant king of Galilee, Herod.
Written in opera style, with no spoken dialogue, "Jesus Christ Superstar" is a breezy show, with a 45-minute first act that ends rather abruptly and the much stronger, more emotional second act that clocks in at just 50 minutes.
Dallett Norris adds some nice directorial touches, like the posing of the disciples for "The Last Supper" and the nifty special effects that close the show. Choreographer Arlene Phillips moves the actors smoothly around the scaffolding set. But Fabio Toblini's costumes are unflattering, particularly Glover's jester-style ensemble."
Neeley can still act, move and --- in most cases ---- sing, like he used to. And San Diego audiences appear to appreciate his efforts.
January 5, 2008
JC REVISITED
Original star Ted Neeley brought renewed passion to American Musical Theatre's 'Jesus Christ Superstar'
By Marianne Messina
TED NEELEY may be a 64-year-old man, but he carried off Jesus Christ Superstar (which just finished a brief run at American Musical Theatre of San Jose) in a triumph of the soul. Those high, agonized "Gethsemane" vocals wailed, cracked and soared, and Neeley took advantage of his slightly huskier voice to curl out some foreboding low notes. It being well over 30 years since Neeley appeared in the Norman Jewison movie version (1973) of this Tim Rice/Andrew Lloyd Webber take on the New Testament story, there's delicious irony in the words, "After all I've tried for three years, seems like 30." And Neeley seems to play with the irony, ostensibly suggesting personal overtones —"I'm not as sure as when we started."
In scenes like this one and the "Last Supper," Jesus carries on a conversation with a white light in the sky, often to the exclusion of the men around him, a sort of mad seer thread a la The Last Temptation of Christ. It seems the passage of time only gave Neeley's pauses, whispers, touches (oh, this is a feely Jesus) the air of a man deep in understanding, who approaches those ethereal high notes with both a respectful caution and a ruthless precision. Hollers and other sounds from the audience suggested appreciation (and, well, amazement) at his vocal prowess. Besides sublime vocals, Neeley's superstar was not so much meditative as sedate, not sanctimonious or all-knowing as much as conscious, as if everything around him were bursting with meanings.
But apart from Neeley, this production was overrun with sublimes, from the vocals of former Living Colour vocalist Corey Glover (a moping, shuffling Judas) to the orchestra's miraculous keyboards and an ecstatic drummer. The music captured Webber's expressive orchestration down to the fine details, the odd harp, flute, acoustic guitar, wind chimes. Craig Sculli as a sympathetic Pontius Pilate, Darrel R. Whitney's rumbling Caiaphas and Tiffini Dodson's warm Mary Magdalene are all delivered on strong vocals.
When the show veered from the originals in a big way, it was to impart some insight. For example, when Pilate questions Jesus, there's an abrupt interruption of his jabbing song that locks Pilate and Jesus in a mute dialogue of stares. The distance of the observers at the crucifixion emphasizes the aloneness of the moment and Neeley conveys a bloodless agony on jagged inhalations, as if the body struggles to grasp the breath of life long after the man gives it up.
The possible exception to this production's sapient innovation is the Buena Vista Social Club rendition of Herod's song, "So You are the Christ." Its Latin beat drags some of the levity down, but the gabby chorus girls and Aaron Fuksa's Don King scare-hair, as Herod, are pretty irresistible. Lighting designer Rick Belzer often painted like a Grand Master around the Christ, for example casting him in oblique spots so he emerged from the others like some ambiguous Caravaggio hero. At times, Neeley appears struck by lightning or by words, as in the fascinating leper's lament "See My Hands." The music, singing and action in this show are so gripping that scenery (a catwalk across a multileveled stage) becomes irrelevant, and new sets and characters can emerge suddenly from behind the action and still come as a surprise. This mature production surpasses the general run of remakes and rather than redoing Rice/Webber's complex statement, ripens it.
WHAT WOULD JESUS SAY? IT ROCKS!
June 2, 2007
BY JANE PALMER
WORLD-HERALD STAFF WRITER
OMAHA, Nebraska -- "Jesus Christ Superstar," the rock opera that plays off the greatest story ever told, breezes through Omaha this weekend with high-powered talent.
Ted Neeley has played the role of the Messiah on and off for more than 30 years, and his appearance and demeanor are believable throughout the show. His voice is one Americans have long associated with the show.
Playing the important supporting roles of Judas Iscariot and Mary Magdalene were the talented Corey Glover and Tiffini Dodson.
Glover, a Grammy winning singer with the band Living Colour, is in his first year with the show. He brings a raw dynamism to the role of Judas.
He grabbed the audience's attention in a scene showing Judas' regret at betraying Christ.
Then Glover wowed the audience with a rocking-good finale, singing one of the show's hit songs, "Superstar."
Dodson, a recent graduate of Belmont University and on her first national tour, beautifully sang another signature song of the show, "I Don't Know How to Love Him."
The audience seemed especially in tune with Neeley. They cheered wildly for him after an emotional scene in the Garden of Gethsemane. They hung on his every word and movement during the Crucifixion.
Another memorable moment was a scene when Jesus prayed for deliverance while a chorus of singers prayed for Christ's healing touch.
For comic relief, there was a wild and wacky scene with King Herod and his harem. Apparently awakened from his slumber, Herod had "bed-head" hair and wore a brightly-colored robe as he entreated Jesus to perform a miracle.
Supporting the cast throughout the show was a five-piece band, which provided 95 percent of the music. A brief tape of orchestral music augmented one of the songs. Otherwise, this small band brought the music of Andrew Lloyd Webber to life in the Orpheum Theater.
A spare, yet elegant, set design and careful choreography also contributed to the success of this professional production.
A representative for Omaha Performing Arts said Friday's show was close to a sell-out with an audience of approximately 2,546.
'SUPERSTAR' FLAWLESSLY PERFORMED
April 17, 2007 - Bangor Daily News
The last time "Jesus Christ Superstar" was staged at the Bangor Auditorium, the brash, new rock opera was met with howls of protest from many in the religious community. One local minister even took to the airwaves to block the show from ever coming here.
My, how times change. More than 30 years after its last auditorium appearance, the only disturbance greeting "Superstar’s" return engagement Sunday night was the forecast of a fierce New England storm. No "This play is blasphemous!" pickets outside the arena; no zealots inside screaming, "Burn Andrew Lloyd Webber!"
A lot of water has gone under the bridge (recall Martin Scorsese’s unsettling "The Last Temptation of Christ") since Webber, who wrote the music, and lyricist Tim Rice, retold the last seven days in the life of Jesus of Nazareth.
Although the Vatican embraced the Webber-Rice retooling, many Protestants couldn’t stomach a hip Jesus crooning to a rock beat. Not to mention a fawning Mary Magdalene and Pontius Pilate portrayed as a judge striving to save Christ’s life. And there was that peck on the cheek — you know the one — between Judas and Jesus.
So, was Sunday’s show worth the wait? And has it stood the test of time?
Anyone with a pulse must have been moved to tears by the stunning crucifixion scene, alone. It’s one thing to watch Ted Neeley, who starred in the 1973 movie version, crying out from the cross on screen. But to see him in the flesh, writhing, screaming, is unforgettable.
The rest of the two-hour show was well-paced and flawlessly performed.
This staging of "Superstar" relied on spare steel staging backed by an ominous black sky filled with hopeful white stars.
Neeley, the one-time rock star is still lithe, limber and believable in a role he has played thousands of times. His voice is raspier than the one heard on film, but he can still hit the high notes, which reverberated into the auditorium’s far corners. His white robe and shoulder-length hair are just as in the film.
Tiffini Dodson, dressed in a flowing red gown, was effective as Magdalene. She sang the show’s two signature songs — "Everything’s Alright" and "I Don’t Know How to Love Him."
The role of Judas Iscariot, played by Corey Glover, lead singer of the rock band Living Colour, is a pivotal one. Judas soon becomes the story’s provocateur, and when the audience realizes he isn’t the bad guy, just a human being who made a horrendous decision, everything falls into place.
Overall, good lighting, crisp sound and a live orchestra helped make "Superstar’s" second Bangor stop a memorable one.
JESUS CHRIST SUPERSTAR STILL SUPER
MARCH 18, 2007
THOUSAND OAKS, CA -- The Andrew Lloyd Webber and Tim Rice masterpiece JESUS CHRIST SUPERSTAR starring Ted Neeley in the title role, makes its appearance at the Thousand Oaks Performing Arts Center in Thousand Oaks for a limited run.
Based upon the Gospel according to John in the New Testament of the Bible, the story focuses on the final week in the life of the man known as Jesus of Nazareth. He has a following to those who know Him and know of Him. But the high priests see this man to be a threat rather than a healer. So in an order carried out by Pontius Pilate, Jesus is captured and put to death, only to arise form the dead and later became part of a following still in existence to the present day.
The plot, well known as it is, is not the focus of this stage musical. Sharing the stage with the company of players is Corey Glover, best know as the lead vocalist of Living Colour as Judas, a disciple who later turns Jesus over to the authorities for a mere thirty pieces of sliver coin. His vocal range totes highly within his role complementing his stage presence. Ditto for Tiffini Dodson as Mary Magdalene, the woman that befriends the man of the miracles. But the real element of this production is the presence to Ted Neeley as Jesus that makes this entire production shine! His range of singing still holds out from all of the years he has brought this character to life!
As far as the actual staging is concerned, Bill Stabile's stage design consist of a "catwalk" bridge that shows more to the presence of the ensemble cast throughout. Kep Kaeppeler's musical direction creates a ever fresh sound to the haunting score. Arlene Phillips' choreography brings a contemporary feel, and stage direction by Dallett Norris sums it all up as a superstar performance throughout from its first musical intro chord to its final instrumental number.
Also within the ensemble cast of note is Nathan Baer as Caiaphas, Aaron Fuksa as King Herod, Jeremy Pasha as Annas, and Craig Sculli as Pontius Pilate.
Some people see this musical as a retelling of "the greatest story ever told". Others will accept this show as a musical rock opera about a man who attempted to do good only to be challenged by authority. The rest will take this piece as one of Webber & Rice's best works! No matter what one's beliefs are, JESUS CHRIST SUPERSTAR is just as "super" now as it was first experienced as a musical nearly forty years before, and as first written as a gospel some 2000 years previous. This is a performance that should not be missed by all-Christian or otherwise!
JESUS CHRIST SUPERSTAR, presented by Theatre League, performed at the Fred Kavali Theatre located at the Thousand Oaks Civic Arts Plaza Countrywide Performing Arts Center , 2100 Thousand Oaks Blvd, Thousand Oaks.
GROOVY 'SUPERSTAR' STILL BUZZING WITH ENERGY;
LEAD MAN OF METAL BAND SHINES IN KEY ROLL OF JUDAS
By ELAINE SCHMIDT
Special to the Journal Sentinel
Jan. 13, 2007
More than 30 years ago, "Jesus Christ Superstar" was denounced by many as nothing short of blasphemous.
Friday evening, it had more than 2,500 people at the Milwaukee Theatre on their feet, cheering.
A lot of Andrew Lloyd Webber and Tim Rice's show transcends the early '70s, which is no small feat given the wealth of slang and deliberate pop culture references written into it. Even so, bits like the tune "What's the Buzz" scream of the early '70s.
Ted Neeley, the man who played the title role in the 1973 film of the rock opera and appeared in the Broadway and Los Angeles stage productions, is still as strong as ever.
The real dramatic force of this production, as is the case in many productions of "Superstar," is found in the role of Judas Iscariot.
Judas in this production was placed by Corey Glover, best known as a member of the band Living Colour.
Glover is an absolutely riveting performer. He fills the stage with wrenching anguish as he is forced into the betrayal for which the name Judas is synonymous. He supports the dramatic elements of the role with powerful, expressive, stylized vocal work, becoming the dramatic and musical center of all of his scenes.
Tiffini Dodson plays a voluptuous Mary Magdalene, singing the part with a mix of stereotypical country belt and warm, legit sound that provides her most convincing and character-filled moments.
Craig Sculli uses stage whispers and a tightly focused delivery to create an intense Pontius Pilate.
Larry Alan Coke defines Caiaphas with an astonishing bass voice.
The show is set on a simple, multilevel set. A few platforms and an arched bridge allow the actor to fill the visual space. A starry backdrop and a few fabric drops add to the visual interest of the show.
The production, repeated twice on Saturday, was accompanied by an appropriately edgy mix of guitar, bass and drums.
TED NEELY, COREY GLOVER AND SUPERSTAR ALL RISE TO THE OCCASION AT THE PALACE
By Roy Berko
(Member, American Theatre Critics Association)
Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview Times
It is appropriate that at this time of the year Playhouse Square Center has brought in a touring production of 'JESUS CHRIST SUPERSTAR.' And quite a production it is.
Superstar opened on Broadway in 1971. Ian Gillan played Jesus. In 1972 Neeley was cast in the lead role for the touring production which seemingly has run forever. He also played the role in the 1973 movie version.
Every once in while a play and a performer became synonymous. Think Carol Channing and 'HELLO DOLLY,' and Zero Mostel and 'FIDDLER ON THE ROOF.' When 'JESUS CHRIST SUPERSTAR' is mentioned Neeley and Jesus have become parallel elements.
Touring productions, especially those that have been on the road for a long time, often aren't fresh. This can't be said for this touring show. It sizzles. It is vital. It is fresh. It is exciting. The singing, the dancing and the story interpretation are all on-key.
Much of the excitement is mustered by the excellent chorus who play the apostles and numerous other roles.
However, Corey Glover, best known as a member of the cast of "Living Color," makes the production special. He is dynamic as Judas. Glover has a full voice and becomes so involved in the role that he sucks the audience right into the action.
Neeley never seems to age or go into automatic pilot as some performers do after playing a role for a long time-span. I've seen him do this role several times, and, if anything, he has deepened his Jesus-like presence. No matter what your religious orientation, Neeley makes you believe, as he floats upward on the cross at the end of the play, that he is on his way to a special place, and that his presence will long be felt.
Christina Rea-Briskin makes the role of Mary Magdalene hers. She sings well, interprets songs proficiently and acts the role with conviction. "I Don't Know How to Love Him," her duet with Neeley, is compelling.
"Could We Start Again, Please,"her duet with Chris Gleim (Peter) brought screaming appreciation from the audience.
Aaron Fuksa's "King Herod's Song," was a sight and sound show-stopping delight.
Capsule judgment:. This, the 2006 national tour of Superstar, is supposedly Neeley's swan song. Supposedly it is his final appearance in the role.
So, if the public relations is true, you'd better get down to the Palace and see him now. It's worth the trip!
Lead from film resurrects 'Superstar' authoritatively
NEARLY TWICE JESUS' AGE, BUT STILL HAS THE VOICE
October 20, 2006
LEXINGTON, KENTUCKY -- The Jesus Christ Superstar that rolled into the Lexington Opera House last night came loaded with bright young talents who brought characters such as Mary Magdalene and Pontius Pilate crackling to life.
Director Dallett Norris' take offered some new ideas that illuminated and enlivened the show.
None of that was the marquee attraction, though, with this Superstar, which plays through Sunday.
The name above the title was Ted Neeley, who played the title role in the 1973 movie, and is still playing it .
Neeley had several things going for him. He definitely has the messianic thing down: outstretched arms, warm smile, constant dialogue with the heavens.
He even has those screaming high notes, best utilized in the temple scene rebuking the money changers and in Gethsemane.
Living Colour frontman Corey Glover steps into the late Carl Anderson's role as Judas. His vocals are spectacular. Christina Rea-Briskin as Magdalene, Larry Alan Coke as Caiaphas and Craig Sculli as Pontius Pilate all look like talents to keep an eye on.
The opening night performance had a little trouble with volume that marred the first few numbers, particularly Heaven on Their Minds. It is a rock opera, so there's nothing wrong with cranking it up.
Rock opera ‘Superstar’ boasts a super cast
October 6, 2006
TOLEDO, OHIO -- It’s fascinating how much a 35-year-old play, especially one that is well known and performed often by community troupes, has the power to entrance.
Jesus Christ Superstar is one of those plays, and the production that opened Thursday in the Stranahan Theater hit all the right chords, figuratively and literally, to provide an evening of marvelous entertainment.
Whoever cast the show knew what they were about. Ted Neeley, Corey Glover, and Christine Rea-Briskin, played, respectively, Jesus, Judas, and Mary Magdalene, and their performances were filled with emotional power.
If anyone can be said to own a role, it’s Neeley. Corey Glover as Judas Iscariot, owned the stage from the start, his charisma shimmering over the audience, and it never let up.
Rea-Briskin has a pleasingly rich voice, and she used it to good effect in the numbers “”Everything’s Alright” and “I Don’t Know How to Love Him.” Although her character is a prostitute, Rea-Briskin used a sweet dignity to show that Mary Magdalene, among all of Jesus’ close followers, was unswervingly loyal.
The ensemble, too, was top-notch, with notable performances from Larry Alan Coke as Caiaphas, Aaron Fuksa as Herod, and Craig Sculli, who resembles Vin Diesel, as Pontias Pilate.
When Theater League announced its season, I was unhappy with the preponderance of been-there, done-that on the schedule (which includes Joseph and the Amazing Technicolor Dreamcoat and The Phantom of the Opera).
If all of the productions are as spell-binding as Superstar, I will be delighted to change my mind.
Theater League Presents “Jesus Christ Superstar” in the Stranahan Theater, 4645 Heatherdowns Blvd. Performances are at 2 and 8 p.m. today and 2 and 7 p.m. tomorrow, and seating is extremely limited. Tickets range from $23 to $50, plus service fees, through the Stranahan box office or Ticketmaster. Information: 419-381-8851.
Superstar' hits almighty heights
September 9, 200
BUFFALO, NEW YORK -- It may have been divine inspiration to sign up Ted Neeley to play the lead once again in the tour of "Jesus Christ Superstar."
On opening night Friday, Neeley seemed a bit wan and tired in the first half, but inhabited the inspiring role with immense power in the second half to thrilling effect.
This version of the Tim Rice and Andrew Lloyd Webber rock opera is exceptionally well done, and the opening-night crowd loved its Neeley. When he first appeared onstage in his simple white robe, the audience greeted him with applause. But in the first half, when Jesus is riding high among his energetic disciples, Neeley was overshadowed by Corey Glover, who commanded the stage with his combined strong vocals and smoldering intensity in the difficult role of Judas.
Glover's performance was consistently first-rate, as he swung from self-righteous criticism of Jesus' relationship with Mary Magdalene in "Strange Thing Mystifying" to tortured crisis in "Damned for All Time."
It's difficult to say whether Neeley took the first act to get warmed up, or whether the older, somewhat discouraged Jesus in the second act was just a better fit. But his powerful and passionate performance in the fraught dialogue with God, "Gethsemane," was thrilling. It's as if he were transformed, and the crowd responded by interrupting the song twice with applause.
Other strong supporting players included Larry Alan Coke, whose Vader-esque bass as high priest Caiphas sent a murmur through the audience, and Christine Rea-Briskin, who was a sweet and engaging Mary Magdalene. Rea-Briskin was technically excellent but a bit too cool in "I Don't Know How to Love Him," which at its best can be a cry of painful yearning.
The campy scene in King Herod's house is always entertaining, and Aaron Fuksa was a chubby, exuberant Herod, wearing a bathrobe and backed up by saucy calypso singers. |
