Jesus Christ Superstar Revival 2000 - Articles Page 12

Today we are continuing BroadwayWorld's extensive coverage of the forthcoming Fathom cinema presentation of the epic brand new arena production Andrew Lloyd Webber and Tim Rice's JESUS CHRIST SUPERSTAR by highlighting the show's sole female voice, Mary Magdalene, as portrayed in this fresh, ultra hi-tech, extravagantly sensorial production by Spice Girl and West End notable Melanie C..

According to BBC News, the Russian city of Rostov's philharmonic has canceled a production of Andrew Lloyd Webber's Jesus Christ Superstar due to protests by Orthodox Christians.

Neue Katzen für CATS! Der Musical-Welterfolg stellt neue Künstler vor. Mit dem Beginn der neuen Spielzeit werden einige neue Darsteller Teil der Cast der erfolgreichen CATS Theaterzelt-Tournee. Ab dem 22. September werden sie gemeinsam mit den bisherigen Darstellern auf der Bühne stehen.

Max von Essen is scheduled to again step into the role of 'Che' for six performances, August 6-11, in the new Broadway production of EVITA while Ricky Martin is on vacation.

Starlight Theatre will present Elton John and Tim Rice's AIDA, winner of four Tony Awards including Best Musical Score and Best Book, August 3-12 at the Kauffman Center for the Performing Arts, 1601 Broadway.

Starlight Theatre will present Elton John and Tim Rice's AIDA, winner of four Tony Awards including Best Musical Score and Best Book, August 3-12 at the Kauffman Center for the Performing Arts, 1601 Broadway.

Black Milk, by the Russian playwright Vassily Sigarev (translation by Sasha Dugdale), will have its New York premiere Off-Broadway this summer from tonight, July 19 - August 4, 2012 in a production helmed by the acclaimed Venezuelan director Michel Hausmann at East 13th Street Theatre, 136 East 13th Street (home of Classic Stage Company).

The Muny presents the third show of its 94th season, Disney's Aladdin, opening tonight through July 13, directed by Gary Griffin, and choreographed by Alex Sanchez.

One of Broadway's most celebrated performers, Max von Essen, steps into the role of Che for six performances, starting tonight, July 2 - July 7, in the new Broadway production of EVITA while Ricky Martin is on vacation. Daniel Torres will play the role of Che for both the matinee and evening performance on July 8. Max von Essen originated the role of Magaldi in the current production of EVITA and will return to that role when Martin returns from vacation. The performance schedule for this week is Monday at 8pm, Tuesday at 7pm, Thursday at 8pm, Friday at 8pm, Saturday at 2pm and 8pm and Sunday at 2pm and 7:30pm.

One of Broadway's most celebrated performers, Max von Essen, steps into the role of Che for six performances, July 2 - July 7, in the new Broadway production of EVITA while Ricky Martin is on vacation. Daniel Torres will play the role of Che for both the matinee and evening performance on July 8. Max Von Essen originated the role of Magaldi in the current production of EVITA and will return to that role when Martin returns from vacation. The performance schedule for the week beginning July 2 is Monday at 8pm, Tuesday at 7pm, Thursday at 8pm, Friday at 8pm, Saturday at 2pm and 8pm and Sunday at 2pm and 7:30pm.

Black Milk, by the Russian playwright Vassily Sigarev (translation by Sasha Dugdale), will have its New York premiere Off-Broadway this summer from July 19 - August 4, 2012 in a production helmed by the acclaimed Venezuelan director Michel Hausmann at East 13th Street Theatre, 136 East 13th Street (home of Classic Stage Company).

This week's topics: Significance of the title of ONCE, Rank the Tony performances, Frances McDormand Award, Vincent TRASHES Jesus Christ Superstar, Hits of the Season, Longest Running Show without a Tony, What IS The Most Boring Play

Connecticut Repertory Theatre (CRT) launches its 2012 Nutmeg Summer Series with Man of La Mancha, running tonight, June 7 through June 16 in the intimate Harriett S. Jorgensen Theatre (lower Jorgensen Auditorium) on the UConn campus, Storrs.

Today we are talking to the Tony Award-nominated Best Featured Actor In A Musical who has set Broadway ablaze with his much-talked-about portrayal of Judas in Des McAnuff's spectacular revival of Andrew Lloyd Webber and Tim Rice's seminal rock opera, JESUS CHRIST SUPERSTAR - the electric and charismatic Josh Young. Tracing his journey with the Biblically-themed musical from the hallowed grounds of the Stratford Shakespeare Festival in Canada - where he first made his mark on the theatre world with his acting of another iconic Lloyd Webber/Rice anti-hero, Che in EVITA; as well as THE GRAPES OF WRATH - all the way to La Jolla in California, and, now, to eight performances a week on the Great White Way, Young shares his overflowing enthusiasm for the theatrical form and details his life as a performer; a veritable dream come true for the self-proclaimed Broadway baby. In addition to all about his perspective on Judas and his thoughts on the daring and innovative SUPERSTAR, Young also describes working with Tony-winning director Des McAnuff and how his training at the Royal Shakespeare Festival has prepared him for the rigors of a Broadway hit. Plus, Young looks back on past performances and his favorite roles to date as well as shines a light on some of the parts he would consider taking on in the future, both near and far. Plus, Young reacts to his Tony Award nomination, fills us in on genesis of the many new lyrics for the heavenly SUPERSTAR revival, shares thoughts on GLEE, SMASH and much, much more!

The Muny announced today principal casting for the third show of its 94th season, Disney's Aladdin (July 5-13), directed by Gary Griffin, and choreographed by Alex Sanchez. Tony® Nominees Robin de Jesus and John Tartaglia star as Aladdin and the Genie, respectively. Joining them will be Jason Graae as Omar, Curtis Holbrook as Iago, Francis Jue as Kassim, Eddie Korbich as Babkak, Samantha Massell as Jasmine, Ken Page as the Sultan, and Thom Sesma as Jafar.

Connecticut Repertory Theatre (CRT) launches its 2012 Nutmeg Summer Series with Man of La Mancha, running June 7 - 16 in the intimate Harriett S. Jorgensen Theatre (lower Jorgensen Auditorium) on the UConn campus, Storrs.

Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. And I, who saw the original Broadway production twice during that heady decade and have not seen the show in any form since then, was eager to go and see what the fuss was, and is, all about. So I went, Tuesday night. If you've never seen this show, if you kids have never seen it, or if you want to experience the magic of this unique theatrical masterpiece one more time, then this is a great opportunity to do so, as this is the only remaining North American production to (somewhat) accurately replicate the award-winning, record-setting British musical that took America and the world by storm thirty years ago. This tour of non-Equity performers, with its usual orchestra of five beefed up to eight for a weeklong stand (May 1-6) in a major theatrical market, has enough going for it that I highly recommend it. It's a little like entering a time machine, and there's a lot of sleight of hand, but it works. Let me explain. What is "Cats?" Much maligned by insiders, derided as dated by visual artists, underrated by dance teachers and ignored by voice teachers (save for its megahit song, "Memory," which is heard twice, but never in the sheet music version everything has heard and claims to know), it is in many ways a dichotomy. It's a dance show (choreography by Gillian Lynne) written by a singer's songwriter (Andrew Lloyd Webber), as well as a British song cycle based on poems written by a St. Louis-born English poet (T. S. Eliot) who never intended his work ("Old Possum's Book Of Practical Cats," and other snippets) to be either musicalized or staged. Its plot, slight though it is, is also the subject of much derision, but to this observer is very reminiscent of "A Chorus Line," a universally revered work that does include dialogue and more depth of character, but also honors unity of time and place. However, there are indeed works that dispense with plot entirely, and which people unabashedly love (you know, revues--"Ain't Misbehavin'" comes to mind), and even shows like "Forever Plaid" and Lloyd Webber's "Starlight Express" feature heaven-going as a climax that is not entirely a surprise. So, enough complaining about there being no dramatic tension, already. But the spectacle! Is it a rock concert with dance, a dance concert with character, a makeup and hair extravaganza with arena-style lighting (still thrilling, the work of David Hersey, as recreated by Rick Belzer), a radio-friendly cast album with a decidedly British keyboard-rock spin, an intellectual set of inscrutable poems with earworm melodies, an environmental theater piece that's fun for all ages (an unmistakeable set and costume design by the remarkable John Napier)--what exactly is going on? The answer, of course, is all of the above. Oh, and it owes a lot to the English music hall tradition and to contemporary classical music, too, not to mention Puccini. Name another show that encompasses so much. Not to mention that original marketing campaign. Aside from his immature works (the children's show "Joseph And The Amazing Technicolor Dreamcoat" and others), Lloyd Webber's previous shows written with Tim Rice (the two nominated for the Best Revival of a Musical Tony Award this year, "Jesus Christ Superstar" and "Evita,") were both introduced to the world via record albums and marketing campaigns that featured a logo rather than a star name and image. But "Cats" seemed to take that even further, dispensing with the concept album and zeroing in on the show AS the star. Indeed, this show has no leading roles. Really. But who can forget that moon/cats' eyes/dancer silhouette logo, and the letters of the title in color-coordinated graffiti (echoing the oversized junkyard scene design). It was exciting and revolutionary at the time, and the only shows that have done it better since then (Lloyd Webber's "The Phantom Of The Opera" and director Trevor Nunn's "Les Miserables," all three produced by wunderkind Cameron Mackintosh) are the only ones that have run longer in London and New York, due to the lessons they learned from the feline juggernaut before us now. It was "the birth of the musical spectacular," as Broadway In Chicago's promotional materials tell us. This particular edition of the endless "Cats" tour, directed and choreographed by Richard Stafford and featuring mostly young, recent graduates of top U.S. musical theater and dance schools, is indeed "cut down" from the total makeover that the Winter Garden Theatre in New York displayed for the 18 years it played there (1982-2000). But the "Christmas lights" that once ringed the audience do indeed extend past the proscenium arch, and the cast makes several trips out into the aisles, a nice touch. The back wall of the set does not swing down to reveal the ship's set needed for the "Growltiger's Last Stand" sequence--they use drops and a false proscenium downstage center here, and I almost liked it better. The set as a whole is not as detailed and certainly not as deep as it once was, but if you haven't seen the video of the London production, or the show as it played in the early '80s, you would be none the wiser. Sound-wise, I have to give credit to sound designer Duncan Robert Edwards, musical supervisor Kristen Blodgette and music director J. Michael Duff. I swear the show sounds better than ever, even with a smaller orchestra than originally employed. And I could understand the lyrics! The costumes and makeup design look simplified to me, though, but again, a newcomer to the proceedings wouldn't know. And do I care of part of the set is inflatable, as rumor would have it? I don't care how they get it from city to city, or how quickly they do it, but somebody does care, and they figured out a way to make it work! The floating tire and the thing that comes down from the fly space (spoiler alert?) look great, absolutely. Absolutely. The cast is led by Melissa Grohowski as Grizabella, the role made famous by Elaine Paige and Betty Buckley and carrying with it, shall we say, a certain expectation of a certain money note. Boy, does Ms. Grohowski deliver! Three people stood during the applause for the number. Bravo to Clemmons/Dewing Casting, I say! The two singing roles for the men, Old Deuteronomy and Gus/Growltiger/Bustopher Jones, are essayed here by Nathan Morgan and Christopher E. Sidori, who both acquitted themselves well and were very effective theatrically, whatever their actual ages. Among the dance roles, Daniel J. Self as the narrator Munkustrap, Chris Stevens as Rum Tum Tugger and especially Chaz Wolcott as Mistoffelees were crowd pleasers: Self with his movement detailing, Stevens with his Elvis impersonation and Wolcott with his amazing fouette turns. The cast of two dozen or so performers dances uniformly well, and sings very well, too, save for a few minor quibbles with single lines here. And there or some missing low notes that older performers would probably have no trouble with. But these are easily forgiven. Who cares if the leading lights of Broadway (Harry Groener, Terrence Mann, Anna McNeely and of course Ken Page) have been replaced in these roles by recent graduates of Wright State, SUNY-Purchase and Oklahoma City University? These energetic, disciplined performers are working their tails off (pun intended), singing like people who can't dance a lick and are basking in the glow of theater history with every city they visit. Yes, the show has moments that seem a little longwinded, and sure, it doesn't challenge your intellect as much as it challenges your wallet and your caffeine intake (it takes place at night, and everybody is dressed like a cat!). But I challenge you to remain unmoved when Grizabella begs for physical contact, when old Gus relives his moment of youthful theatrical triumph, when assorted junk becomes the train that Skimbleshanks loves, and when the sopranos of the ensemble soar on the words, "'Round the cathedral rang 'Vivat!" Come on! It's "Cats." It's eye and ear candy galore. I don't even like cats, but I do like "Cats." Very much. "Cats" plays this week only, Tuesday night through Sunday night, with additional matinee performances on Saturday and Sunday, at the Cadillac Palace Theatre, 151 W. Randolph Street in Chicago. Tickets are available at all Broadway In Chicago box offices, the Ticket Kiosk at Water Tower Place, all Ticketmaster retail outlets, by phone (800.775.2000) and online at www.BroadwayInChicago.com. Photos: Melissa Grohowski; The Cast

A European premiere from one of Canada's pre-eminent playwrights, Daniel MacIvor, His Greatness opens at the Finborough Theatre on Tuesday, 24 April 2012 (Press Night: Friday, 27 April 2012 at 7.30pm) for a four week limited season. Directed by Che Walker, the cast includes Russell Bentley, Matthew Marsh and Toby Wharton.

Today in 2000, the second Broadway revival of Jesus Christ Superstar opened at the Ford Center for the Performing Arts (now the Foxwoods Theatre), where it ran for 161 performances. Jesus Christ Superstar is a rock opera by Andrew Lloyd Webber, with lyrics by Tim Rice. The musical started off as a rock opera concept recording before its first staging on Broadway in 1971. The musical is based very loosely on the Gospels' account of the last week of Jesus' life, beginning with the preparation for the arrival of Jesus and his disciples in Jerusalem, and ending with the crucifixion. The third Broadway revival is currently playing at the Neil Simon Theatre.

After 6 seasons at the Stratford Shakespeare Festival, Julius returns to B'way in a Stratford production, with his brother in the cast as well.

A few days shy of the holiest week of the year for Christians - aptly named Holy Week, beginning with Palm Sunday and ending with Easter (with Holy Thursday and Good Friday, the most sacred events on the calendar coming between) - Andrew Lloyd Webber and Tim Rice's seminal rock opera JESUS CHRIST SUPERSTAR was resurrected on Broadway by TOMMY and JERSEY BOYS director Des McAnuff - modeled after the hit Stratford Shakespeare Festival production last year and comprised of many of the same cast members, including all three leads - to hails of praise and hosannas, mostly. While JESUS CHRIST SUPERSTAR itself will always divide audiences and critics alike - and not merely because of its controversial content and its button-pushing treatment of the hallowed tale it tells - the magnetism and sheer power that Lloyd Webber's propulsive, throbbing rock score imbues gives the show an energy, vitality and life rare to find in even the most earnestly effervescent and energetic of comparable entities - the recently revived and similarly-themed GODSPELL in a revival a few blocks away included. Then, there are Tim Rice's lyrics - oh-so-spot-on in 1970, but still biting and edgy today in McAnuff's hi-tech and elaborately presented new Broadway production. Using the book of John as the jumping off point, JESUS CHRIST SUPERSTAR tells the story of the last seven days in the life of Jesus Christ (Paul Nolan) and his subsequent betrayal by Judas (Josh Young) and sentencing to death at the hands of King Herod and Pontius Pilate (Tom Hewitt). The twelve apostles, Mary Magdalene and her female companions, lepers, Pharisees, priests and others populate the grand story told almost entirely through song - the show is 90% music - and Webber and Rice's score never, ever lets up. While this may not be the most faithful rendering as far as the Bible is concerned, nor the most historically accurate, SUPERSTAR is now available to experience for a whole new generation thanks to this new revival and the timing could not be more ideal. The time is ripe for a revival of SUPERSTAR, and, as Andrew Lloyd Webber himself has recently related, this new production of the show is the best ever as far as he is concerned. High praise indeed - coming from no less than the Lord.

Broadway's Rodney Hicks, last seen on Broadway in The Scottsboro Boys will make a guest appearance on GRIMM, this May in an episode centered around the fairy tale of 'big foot'.

The April 2012 at the B. B. King Blues Club and Grill, NYC, has been announced, featuring Melanie and Oleta Adams.

Trinity Rep resident acting company member Joe Wilson, Jr. will be honored by the Rhode Island Black Heritage Society later this month. An annual Black History Month tradition, the event will take place on Saturday, February 18 from 2 - 4 PM at the Metacomet Country Club in East Providence.

Josh Young makes his Broadway debut as 'Judas Iscariot' in The Stratford Shakespeare Festival's production of Jesus Christ Superstar directed by Des McAnuff at The Neil Simon Theatre. Preview performances beginMarch 1, 2012 with an opening on March 22.