Jesus Christ Superstar--A Few Questions — Page 2

I'd say Jesus needs a good B flat. He has a big money note in 'Everything's Alright' that sounds pretty whiggity whack in falsetto.

I'd definitely prefer a Jesus to have a C (or higher, heh). His bit in Strange Thing Mystifying does require a breif series of Cs, though it doesn't have to be pretty. It sounds bad if he's trying to smoothly break in and out of falsetto... at least in my experience it has.

??,

The Carter DVD gets called the Aussie DVD because many of those who worked on it behind the camera were Aussies -- most notably the director. It also has a VERY Aussie aesthetic to it (which I found pretty ugly and clunky to watch).

As far as the notes Jesus and Judas should have -- they FOR SURE should have high C's (both roles have multiple high C's). Most Jesus' do that high G above high C scream in I Only Want To Say, so that is pratty important.

I've seen both Judas and Jesus as white, both as black, both as Asain, and both as women. It works any of those ways (if the director realizes that the show comments on itself through casting choices).

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Ian Gillan, the first person to sing Gethsemane on record, sang a G above high C on 'Whyyyyyy'.

It's breathtaking.

He also uses similiar technique on 'Alright! I'll die!' This was before they did the ****ty revisionist thing and decided that part should be delivered quietly.

The sustained high G that Balsamo hits, while impressive, never really made a lot of sense to me. It's just showing off.

I take my last comment back then. I have not listened to the concept recording for a number of years. I grew up listening to a lot of the British cast recordings/concerts of the 80s and early 90s. People like Dave Willets and Paul Nichols. Not my cup of tea at all! So when I was taken on a school trip ot see the Lyceum production with Balsamo, Zubin Varla and Joanna Ampil I was totally blown away.

Finally here was a JCS that I could connect too. Well staged and serious. Emotional and powerfully sung. Not camp in the slightest. Even the Herrod number was done with a touch of realism. Pontius Pilate was sung by the imposing David Burt. An actor who imbued subtext and can belt those Abs rather than simper like the film. Joanna Ampil created a touching Mary who avoided the diva antics of her replacements on tour and Broadway.

Sadly it all went horribly wrong on the UK Tour. Someone decided to reconceive the production and modernise it. What they failed to see was that the Lyceum staging did modernise it effectively. The result looked very silly but still enjoyable for die hard fans. Maybe it was more accesible to younger people (by this time I was a jaded and bitter fresher at Uni!) I really dont know. What I do know is that it was panned on Broadway.

Sad really as there were so many talented people associated with the NY production and the dvd.

Sorry perhaps I am missing something but I just listened to the Concept recording and cannot for the life of me find where Ian Gillan screams a high g above c.

Can you help me out please?

I played Mary Mag back in the days when it has just finished running its first run on Broadway and we were on the road on the East Coast.

The original interpretation of Pilate is my favorite for obvious reasons. And the recent revivals with females in the roles of the men seem a bit odd. But then in Greek theater, the men played all the roles (women and men) so maybe this is just our way to striking back thousands of years later :)

If done correctly this show can be very powerful and human. If done all for camp, it can be shallow and a mere shadow of its intended self.

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Actually, no, people did do it before Steve Balsamo, but they were not on any recorded versions of the show. I know (based on sources) that the sustained high G over the slow orchestration was first tried in an American production in the late 80's and became a popular trend. ALW then made it official with the reorchestrations for the 1996 revival.

And now...a question...WHY DO ALL OF YOU LIKE THE 2000 REVIVAL SO MUCH? ARE YOU INSANE? Ted Neeley...Carl Anderson...quintessential version on film...1973...ring any bells? They sure did to the millions of people who made sure that the reunion tour from 1992-1998 grossed over 100 million dollars and outsold every touring concert act in the country.

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LOL!!!!!!!!!!!!!!!!!!!!

Well I always thought you can play up the jealousy of Judas towards Mary Magdalene.

But yes the 2000 DVD is a bit "garish". I mean I love Tony Vincent but the whole look he was going for would quite happily fit into my ideas of gay porn!

As I said earlier the London production from 1996-1998 was far more truthful and updated the show without going to the extreme.

Who was your fav Pilate and your fav Herod?

I like Barry Dennen and Joshua Mostel cause they're the only ones I've seen. :P

Thats true. Of all the times I saw Balsamo live, not once did he actually maintain the G for the entire musical break. Also, his voice was far weaker in his higher register live compared to on the album. I personally feel like the 1996 Cast album was overproduced, and not an accurate reflection of the produciton. I mean Alice Cooper never did play Herod...