Maybe not anymore - the show, and its idea that the people around Jesus were actual humans, are pretty mainstream nowadays.
April Fools?
It’s funny…for every person protesting at the original production and screaming “blasphemy”, there were five others saying that it was a spiritual experience for them and illuminated their faith in a new way. Pretty versatile for a little rock musical.
Although I don’t know how spiritual I’d have felt if I’d seen that original Broadway production. An opera director named Frank Corsaro was originally on board, but had to withdraw after being injured in a car accident. So instead, they got Tom O’Horgan, director of the original stage production of Hair–and he went overboard with excesses, designing sets and costumes that look like something Dr. Seuss would have envisioned after getting bonked on the head after a heavy dose of cough medicine. He said something along the lines of “I wanted them to look like insect-people because I envisioned this as a far-future production of insectlike humanoids re-enacting the ancient Passion Play.” SUUURE, Tom. It was quite a long way from the intimate drama Lloyd Webber and Rice had envisioned (and that I saw in my first stage production, at a community theatre).
I was a little surprised to find out some of the lyrics had been altered a bit from the recordings I’d listened to countless times. Example: “God, Thy will is hard, but You hold every card” became “God, Thy will be done/Take Your only son.”
Anyway, you other fans of the show might find this essay by writer/director Scott Miller interesting. Its original version was published in the book From Assassins to West Side Story, then he revised it and re-published it in the book Sex, Drugs, Rock and Roll and Musicals. One of my favorite observations he makes (as much as I do like Phantom):
Musicals are not my thing at all and I was a kid when it came out in the '70s so I didn’t pay much attention to the hype. I was familiar with the 2 main songs, but that’s about it. I’ve seen bits and pieces of the movie over the years but was never too interested. I hadn’t planned on watching it last night, but since we were immersed in the story at church these last few days I thought I’d give it a shot. I was sucked right in from the beginning. I really enjoyed it. I’m not a fan of Legend’s music but thought he did an ok job. I think he redeemed himself in the crucifixion scene. The rest of the cast was amazing! I’m so glad I watched it.
There were a set of ‘backstage’ cameras catching shots while the commercials ran, and in at least two of them Legend was rubbing at his throat or using what looked like an asthma inhaler - he might have overdone it during rehearsal or be coming down with something, or even just allergies.
Gethsemene is wicked hard even in good health.
I enjoyed it a lot. But, complaints first:
All three pop stars were woefully outclassed.
Legend’s acting was mostly non-existent; he was an energy suck in every scene, and I couldn’t stand watching him sort of walk aimlessly around the stage in his giant bathrobe (also, while in general I loved the costuming, his big gray cloak was a big miss). Add to that his inability to deliver the goods vocally in most of the important moments, and he really seemed like he just didn’t belong on that stage.
Alice Cooper also gave an uninspired and bland performance. His scene/song in general was a big snoozefest. He just stands there and sings the words, while a small ensemble of dancers just kind of do a thing. Compared to how dynamic so much of the rest of the show was, this just felt like they forgot to block/direct this number until the day of, and just threw something together.
Bareilles has a beautiful voice, but also clearly lacks the acting talent of the other folks up on the stage. At least she, unlike the other two top-billed performers, was able to not look lost and frightened on stage.
Also, while I’m busy ranting about the casting I didn’t like, Erik Grönwall’s vocal performance as Simon lacked direction and was fairly underwhelming.
All that is to say, while these are all talented professionals in their respective milieux, none of them really have the skills required to headline a Broadway musical.
Also, while I love the rock concert vibe, I hit my limit of “ecstatic hollering multiple times before, during and after every number, whenever anyone walks on stage, hits a note that goes into the tenor register, or holds a note longer than a half note, or growls, or grimaces” about half way through act one.
The opening with musicians out on stage doing dramatic bowing was a bit of a miss for me, and I’m glad they kept the pit to the pit for the rest of the show.
Ok, now that that’s all out of the way:
I thought the show looked and sounded great! Brandon Victor Dixon owned the show as Judas. His death scene and his performance of ‘Superstar’ were both world-class. Jason Tam gave a nice performance as Peter, and his duet with Bareilles was beautiful. Norm Lewis was rock solid, and while I didn’t love everything about Ben Daniels’ performance as Pilate, he had a presence and character that really worked.
The arrangements were awesome, maintaining a lot of the vibe/feel of the original while still feeling modern. Some of the tempos lagged a bit for my taste, but overall it was a joy to listen to.
The ensemble was working overtime, and really breathed life into so many scenes.
I loved the choreography for the lashes. An out-of-the-box imagining of that scene.
The set was great! I wish sometimes that there had been less of cameras following action and closeups so we could watch more of the big scenes in their entirety. There was one shot they did a few times coming up out of some backstage/underground area, and I really wish that had been a wide shot; with such an abstract/industrial set, closeups of metal scaffolding and a few fake blocks are hard to put into physical context.
All of me … loves all of you … love your curves and all your edges, all your perfect imperfections …
Ring any bells?
Nah, I’m not talking about Neeley. I believe he holds the record for the most performances, but my buddy Danny Zolli, who I was referring to, holds the record for the most productions. I think 26, last I heard.
Live, live, live. They did, however, record the songs and release them on iTunes before the broadcast, which was kind of weird. Those recordings were not what you heard last night, though.
My friend Justin was the guy who spread the sand/glitter all over the table; he was one of the Apostles and had a few solo lines, but I can’t remember if he had an actual name. And my other friend was a violinist in the orchestra, but not one of the ones on-screen. She said it was 7 weeks of long days rehearsing but incredibly exciting.
I thought it was clever that with each lash, an ensemble member in the background painted a big red slash through the “Jesus” written on the back wall. I read they didn’t do that at the rehearsal (too much to clean maybe?)
I only knew John Legend from his work on Selma & La La Land.
Another guy who memorized the album (and the piano music) back in the 70s. Also an atheist who has always appreciated the Gospel according to Andrew Lloyd Weber.
So I was predisposed to enjoy the production - and did.
I agree - Alice Cooper just stood there. Not sure why they thought a 70+ yr old could match the energy of all the young actors.
John Legend was OK, but definitely forgettable. Holding that wine bottle in Gethsemene was definitely weird. And his swinging of the chair at the temple was pathetic.
The handling of the lashes was weird. Didn’t catch the lashes on the graffiti. Perhaps just one of many instances where I thought the camera focus on one actor distracted from the power of the play’s crowded stage.
I thought the Nordic Simon was distracting with his dramatic hairdo, prancing, and head-banging.
I’m so irreversibly tied to the original recording (anyone else sing the duplicate "How can you SAY that!"s during the last supper? ;)) that I find it disconcerting when lyrics differ. I thought last night’s production had quite a few different lyrics than even the old film. Anyone know how closely yesterday’s lyrics followed the original script?
I was looking around on-line for a list of musicians. Anyone able to link to one? Who were the guitarists?
I play upright bass, and was a little disappointed to never see/hear the bassist pick up the upright that was (to my eyes) so prominently situated on the scaffolding. And I thought the wandering string quartet added little. The poor cellist was dancing around, just holding her instrument. Coulda used a Block strap!
But I’m happy to watch even a flawed production of my favorite musical.
Am I the only one who was waiting for Alice Cooper to say, “ANY QUESTIONS?!” in the voice of David S. Pumpkins?
Rule 34. (Although not me, since I never followed Alice Cooper.)
I, also, got thrown a bit by the differing lyrics. The version I grew up on was the original recording with Ian Gillian and Murray Head. It didn’t include Could We Start Again, Please, which I rather like so I was glad it was included. I really liked the guy who played Annas (Jin Ha). Norm Lewis was marvelous, too, but I missed the deep rumbley bass of the original (Victor Brox).
ETA: I like what I’ve heard of John Legend, but he was underwhelming to me in this role. He didn’t know what to do with his hands/arms, there seemed to be a lot of waving them around to no purpose. I also felt that his voice didn’t have the carrying power needed. On the other hand, there were a few places where the emotion he put into his voice was very effective, and the embrace with Judas after the betrayal caught the breath in my throat.
And Judas was … holy cow. Wow.
It was a 33-piece orchestra, and all I’ve seen so far is a screen shot of the names from my friend, who was one of the violinists. It didn’t list the instruments they played, though; it’s just a list of names. She has it set to public but I still hesitate linking to it here. Maybe eventually they’ll add it to IMDB.
Overall, I really enjoyed the show.
The flaws in this production had nothing to do with the performers, who were mostly excellent. The problem lies with the lyrics and the overall approach of the book. Hipster language from the early Seventies was bound to sound cheesy and dated before long. And more basically, Tim Rice didn’t have any handle on who Jesus was or what he was about.
But I still love most of the music, and it was performed marvelously. And Alice Cooper stole the show, as King Herod usually does.
So true. It’s so awesome when the singer is a full on basso profundo who can really lay into the low notes, rather than stretching for them.
Any specific lyrics you think dated and cheesy?
And, as I said above, I like TR/ALW’s take on the story. A manipulative God, a gullible public, and a very human Jesus. Not sure what “handle” you need - or could possibly have - on what a fictional character “was or … was about”. 
Generally I’ve seen later versions keep Could We Start Again which provides additional exposure to Peter and Magdalene and lets us see the reaction of those who remained believers. Then We Are Decided is often ditched as it was here.
And yeah, we’ve grown used to a really low deep bass for Caiaphas through the various prior recordings/films/video.
The “press corps” in the arrest sequence is always a good callout to the whole “superstar” concept.
As usual, I’m here to represent the lowbrow folks. 
I’m not familiar with the show, although I’ve heard a couple of tunes on the Sirius XM Broadway channel. I tuned in just to see Alice, and I did, and I thought he was wonderful. That is one smokin’ hot 70 year old Christian if you ask me.
What I saw of the rest didn’t grab me, although I thought the cross effect at the end was very nicely done.
Why I didn’t watch live. I pay extra for Hulu w/o ads.
Clearly you’ve never seen Alice in concert. I wish I had his energy!
She’s a well known singer and actress, and wrote the music for the Broadway musical Waitress.