Michael Damian Fasano 2013 Resume

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917-397-0282 www.michael -damian - fasano.com Height: 5’8 Weight: 160 Eyes: Hazel Hair: Dark Brown Range: Tenor G2-Bb4 Falsetto: B REGIONALREGIONAL FOOTLOOSE Ren McCormack Dir/Choreo: Janine Molinari *CT Critics Circle Nominee Seven Angels Theatre Outstanding Actor in a Musical WEST SIDE STORY *Upcoming* Indio Dir: Melody M. Libonati Summer Theatre of Choreo: Doug Shankman New Canaan NATIONAL/INTERNATIONALNATIONAL / INTERNATIONAL TOURSTOURS JESUS CHRIST SUPERSTAR Apostle Dir: Dallet Norris *Ted Neeley & Corey Glover Tour Troika Entertainment Music Dir: Phil Edwards Choreo: Arlene Phillips GREASE Sonny Dir: Michael McFadden AEA Phoenix Entertainment Music Dir: Charlie Alterman Agent: Todd M. Eskin 917-397- 0282 FISHFACE Richard “Beast” Best Dir: Gregg Gunning Email: Arts Power [email protected] HOLLAND AMERICA LINE: Lead Male Singer/ Dir: John Charron Ms. Noordam, Ms. Oosterdam Dancer/Vocal Capt Choreo: John Charron, Michael Damian Fasano Ms. Statendam Inaugural Stiletto Entertainment Melanie Lewis, Jill Hillier @MichaelDFasano @michaeldfasano NEW YORK CITY OUT OF THIS WORLD Mercury Dir. Norbert Joerder Musicals Tonight! Music Dir: David Bishop IT’S KARATE, KID; THE MUSICAL Freddy Fernandez Dir: Jake Hirzel Zipper Theater TRAIN TRAININGING THE BOSTON CONSERVATORY Masters in Dep. Chair: Neil Donohoe Musical Theater BROADWAY DANCE CENTER Student Showcase Intermediate/Advanced Jazz & Theater VOICE/ACTING Jasper Grant, Katie Agresta Jen Waldman, Eddie Schnecker SPECIAL SKILLS SPECIAL SKILLS Falsetto, Front Handspring, Jazz Splits R&L, Toe Touch, Roller Skating, Moonwalk, Aaron Neville Impression .

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Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind.
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Jesus Was a Palestinian Jew by Robert C
Study guide Jesus was a Palestinian Jew By Robert C. Blezard God came and dwelled among us, Emmanuel, incarnated as Jesus for the salvation of all of humanity in all our wonderful diversity. Though all humans may lay claim to Jesus as their “brother” and savior, he came into the world with a specific identity as a Jewish man from Palestine. Depicting Jesus as a Related articles: white European is not merely inaccurate, it may subtly reinforce racism by Perspective: Jesus was implying that white culture is superior to others. a Palestinian Jew—not white (page 14) Exercise 1: Jesus, for all Living Lutheran, Jesus lived as a Palestinian Jew who, scholars believe, undoubtedly had physical and March 2021 facial characteristics similar to Palestinians today—dark skin, dark eyes and hair. That Jesus—God incarnate—was executed by crucifixion but rose again in three days in triumph over death and the grave. Through our faith in Jesus the Christ, we also live in triumph over death. • God came to us in the person of a Palestinian Jew. Does this mean that God identifies with Palestinian Jews more than people of other cultures? Does it mean that Jesus the man and Christ the risen Lord are in solidarity more with Palestinians and Jews than people of other races, nationalities and cultures? Explain. • Does Jesus’ identity indicate that Palestinian Jewish culture is superior to other world cultures? Explain. • As far as our faith is concerned, which is the more important fact: that the fullness of God was incarnated as a human being or that the fullness of God was incarnated as a Palestinian Jew? • How relevant to our salvation is it that God came to us in the person of a Palestinian Jew in the ancient Near East? • Would it have made a difference to our faith and salvation if God had chosen instead to live, die and rise again in Asia, Africa, South America or Europe? Reprints: • Jesus is God-made-flesh.
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Jesus Christ Superstar Con Ted Neeley, Yvonne Elliman E Barry
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Billy Elliot - Il Musical
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PROFILE 5:00 SHA NA NA Guest: Bobbie Adulation Other Among Things
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Secondo Appuntamento, Ancora Sotto Il Segno Della Musica, Per La
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Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By
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Department of English and American Studies
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Danuta Hudecová Transformations of Jesus Christ Superstar Master’s Diploma Thesis Supervisor: Mgr. Tomáš Kačer, Ph. D. 2015 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 Acknowledgement I would like to thank my supervisor Mgr. Tomáš Kačer Ph.D. for his help, guidance, and advice. I am also indebted to my friend Fjodor Vinokurov for his valuable observations. 3 Table of Contents Introduction ..................................................................................................................... 5 1. Specifics of rock opera………………………………………………………………..8 1.1 What is rock opera?.........................................................................................8 1.2 ‘Rock opera’ or ‘rock musical’?....................................................................12 2. History of the rock opera Jesus Christ Superstar........................................................15 3. Many shapes of Jesus Christ Superstar......................................................................24 3.1 Timeliness of Jesus Christ Superstar..................................................................24 3.2 Three version of the rock opera Jesus Christ Superstar.....................................27 3.2.1 Norman Jewison’s 1973 film adaptation of Jesus Christ Superstar..........27 3.2.2 Jesus Christ Superstar
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San Francisco Foghor
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'Superstar' Actor Makes Playing Jesus His Life's Work
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Casting Judas: Interracial Intimacy in Jesus Christ Superstar by Larissa A
Title Page Casting Judas: Interracial Intimacy in Jesus Christ Superstar by Larissa A. Irizarry B.A., Washington Adventist University, 2016 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2019 Committee Membership Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Larissa A. Irizarry It was defended on March 29, 2019 and approved by James Cassaro, Professor, Music Dan Wang, Assistant Professor, Music Committee Chair: Olivia Bloechl, Professor, Music ii Copyright © by Larissa A. Irizarry 2019 iii Abstract Casting Judas: Interracial Intimacy in Jesus Christ Superstar Larissa A. Irizarry, MA University of Pittsburgh, 2019 Jesus Christ Superstar (JCS) by Andrew Lloyd Webber and Tim Rice first debuted as a staged musical in 1971, and was turned into a film production in 1973. In 2000 Gale Edwards and Nick Morris directed a second film adaptation. On Easter Sunday 2018, JCS, directed by David Levaux and Alex Rudzinki, was broadcasted on NBC as a live musical television special. Each of these three productions incorporates different configurations of interracial intimacy among the characters of Judas, Jesus, and Mary. These different characterizations and configurations of race construction produce differing commentaries on race and interracial relations. Despite the emergent scholarship of critical race theory in theater and film studies, there is surprisingly little literature on the configurations of interracial intimacies in JCS. In this thesis, I draw on critical race theory and gender studies to explore how race inflects representations of intimacy in JCS, focusing on the characterization of Judas across these productions.
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