I Negrita Nel Cast "Jesus Christ Superstar"

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GIOVEDì 13 FEBBRAIO 2014 I Negrita sul palcoscenico del Teatro Sistina con Ted Neeley, il Gesù originale di "Jesus Christ Superstar" nella versione evento di Massimo Romeo Piparo. Per la prima volta una rock band italiana sarà I Negrita nel cast "Jesus Christ protagonista di un Musical, l'intera band dei Negrita, infatti, sarà sul Superstar" palco insieme all'orchestra diretta dal M° Emanuele Friello, ed eseguirà la colonna sonora che ha appena festeggiato 40 anni di irripetibile Al Teatro Sistina di Roma con Ted Neeley nel successo. Il frontman Pau presterà voce e corpo al controverso ruolo di Gesu' personaggio di Ponzio Pilato. ANDREA LECCARDI Ma il cast di questa versione evento non finisce di annoverare vere e proprie "perle" della scena musicale italiana: nel ruolo di Maria [email protected] Maddalena ci sarà Simona Molinari, vera rivelazione del "nostro" jazz e in SPETTACOLINEWS.IT quello di Caifa Shel Shapiro, autore di alcune tra le più belle pagine della musica italiana. Dal prossimo 18 aprile, giorno del Venerdì Santo Ted Neeley, i Negrita, Simona Molinari e Shel Shapiro saranno tutti insieme sul palco per dar vita alla più grande opera rock di tutti i tempi, un cast d'eccezione che non mancherà di richiamare l'attenzione di tutti gli appassionati di Musica e di Teatro. Jesus Christ Superstar, il capolavoro di Andrew Lloyd Webber e Tim Rice, Pag. 1 / 2 è ormai passato alla storia come uno dei Musical più famosi e amati di tutti i tempi. La versione italiana in lingua originale firmata da Massimo Romeo Piparo, autore e regista celebrato all'estero per il suo straordinario stile innovativo, compie 20 anni e vanta ormai numerosi record e grandi numeri: tre diverse edizioni, 11 anni consecutivi in cartellone nei Teatri italiani dal 1995 al 2006, oltre 1.000.000 di spettatori, più di 100 artisti che si sono alternati nel cast, 19 regioni e più di 1.000 rappresentazioni in 84 città italiane. Nell'anno della beatificazione di Giovanni Paolo II, con questa nuova versione evento e con Ted Neeley, colui che diede una impronta mitica e indelebile al ruolo di Gesù nello storico successo cinematografico di Norman Jewison del 1973, Piparo riesce a consegnare definitivamente alla "Storia del Teatro italiano" la propria edizione dell'Opera, avendo avuto il privilegio di dirigere sui palcoscenici italiani entrambe le star del film: in occasione del Santo Giubileo dell'Anno 2000, infatti, fu il compianto Carl Anderson- il Giuda nero del film- a interpretare il ruolo per due anni di trionfali successi. ? Pag. 2 / 2.

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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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