DOCSLIB.ORG

Masaryk University Faculty of Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Masaryk University Faculty of Arts Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Martina Hejčová The Rock Opera Jesus Christ Superstar – Analysis of the Critical Reception Over the Decades Bachelor’s Diploma Thesis Supervisor: Mgr. Tomáš Kačer, Ph. D. 2016 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank my supervisor Mgr. Tomáš Kačer, Ph.D. for his valuable advice, sincere guidance and encouragement. Also, I would like to thank my partner and my family for their support. Table of Contents Introduction.......................................................................................................................1 The Greatest Story Ever Told............................................................................................2 Authors..............................................................................................................................4 Album................................................................................................................................6 Broadway and West End...................................................................................................8 Film....................................................................................................................................9 Controversy over the Decades - “He Is Dangerous”.......................................................11 Analysis of the Critical Reception - “The Things They Say of You”.............................15 Jesus Is Viewed through the Eyes of the Devil - “I don´t Like What I See”...................17 Relationship with Mary Magdalene - “I Don´t Know How to Love Him”.....................19 Absence of Resurrection Scene - “John 19:41”...............................................................20 Insult to the Jewish People - “King of the Jews”............................................................22 Jesus Is Confused and Powerless - “Now I´m Sad and Tired”........................................24 Jesus Is a Man - “He´s Just a Man”.................................................................................26 Unexpected Support from Vatican - “I´m a Captive Fan”..............................................29 Conclusion.......................................................................................................................31 Works Cited.....................................................................................................................35 Summary..........................................................................................................................39 Introduction The rock opera Jesus Christ Superstar, by Sir Tim Rice and Lord Andrew Lloyd Webber, is a four-decade phenomenon. With millions of albums sold, successful productions in more than forty countries and an Academy Award nomination for the best screenplay adaptation, the musical has left an indelible mark on the global history of musicals. Variety called it “the biggest media parley in showbiz history,” a double album of the rock opera became the biggest selling album of 1971 and the musical was praised by audiences across generations worldwide. A biblical story seen through the eyes of modern man and presented as a rock musical was an instant success. Thanks to its unexpected approach to the biblical story it stirred up a degree of controversy in some religious circles and Jesus Christ Superstar remains “the most protested-against work in the history of musical theatre” (Sweet). My thesis aims to analyse the protests which have been raised against Jesus Christ Superstar over the last forty years. The first chapters of this paper introduce the storyline of the musical, which varies from its Biblical precursor in several key aspects. I intend to present the authors of the musical, the history of its origin and problematic reception on the stage and in the cinema, which was accompanied by a series of protests led by several religious organizations. I will try to find aspects that these protests had in common – firstly, I try to identify the protesting churches and secondly, I try to find the common elements of their protests. Furthermore, by comparing the libretto of the musical and the Bible I can provide detailed analysis of the main reasons for the most frequent complaints and accusations against the musical that the churches cite as the justification for their protests. Based on these findings, I intend to find a major reason 1 why this musical is considered so unacceptable in certain religious circles. I will also include an analysis of the papal attitude towards this issue. The Greatest Story Ever Told Although the musical is based on the story of the last seven days of Jesus Christ, the story presented differs from that in the Bible in several aspects. First, the story is more based on personal interactions between the characters, interactions that the Bible does not mention. Secondly, some of the characters in the musical have much more space given to them than in the Bible i.e. Mary Magdalene and Judas (who is even considered the guide of the story) and thirdly, the authors have changed the finale of the story, which does not end with a “happy-ending” - the resurrection. The musical begins on the Friday before the traditional Jewish holidays, when Jesus and his followers are heading to Jerusalem to participate in the celebrations. Judas warns Jesus of imminent sacrifice, of his growing fame and the influence that is getting out of Jesus´s hands. On the way to Jerusalem, Jesus talks to his disciples, who want to know his plans, and he convinces them that what matters is the present, not the future. Mary Magdalene is taking care of Jesus, she rubs his face with a fine ointment, which causes another fight with Judas. Not only does he accuse her of wasting precious ointment, Judas sees her as a threat to their mission and teachings. According to him Jesus should not have forgiven this woman of fallen morals nor kept her in his vicinity. Jesus defends her and stays by her side. Meanwhile, the council of high priests in Jerusalem comes to the conclusion that Jesus, his teachings and growing fame are a threat to Rome and that he needs to be silenced. Jesus and his disciples enter triumphantly into Jerusalem, welcomed by the enthusiastic crowd. Simon the Zealot, 2 ardent disciple of Jesus is trying to persuade him to take advantage of the situation and the enthusiastic crowd, to add some anti-Roman agitation into his sermons and lead a revolt against Rome. Jesus realizes that even his closest followers do not understand the true meaning of his mission. Jesus visits the temple of Jerusalem, he expels merchants and money-changers from its premises and then faces a crowd of sick and cripples who ask for miraculous healing. Jesus is taken aback by their number and furiously tells them to heal themselves. Mary Magdalene comforts the tired Jesus and urges him to sleep. She is confessing her love to him and thinks about how much her life changed on meeting him. On Tuesday, Judas out of fear of the future decides to betray Jesus and hand him over into the hands of the high priests. Thursday evening, Jesus meets with his disciples for the Last Supper, where he predicts his own future, the betrayal, the denial. After a heated argument with Jesus, Judas leaves the company and goes to get the Roman soldiers, Jesus is praying to God in the Garden of Gethsemane and expresses fear, uncertainty and doubt about his fate. Judas returns, betrays Jesus with a kiss and hands him over into the hands of the Roman guards. Jesus' words are fulfilled, Peter denies him three times. Jesus is sent to Pontius Pilate who, doubting his guilt, sends him to King Herod. Herod asks Jesus to prove his innocence by some form of a miracle or amusing trick but, disgusted by his silence, sends him back to Pilate. While Jesus' disciples recall the first days spent with Jesus, Judas realizes the impact of his crime and commits suicide. Pilate partially yields to the coercion of the raging crowd and of the Roman priests, and despite his obvious sympathy for Jesus he lets him be flogged with 39 lashes, and then condemns him to death. Judas again enters the story, this time in the role of timeless guide and asks if Jesus's death actually made sense and whether it was worth it to become the Superstar. 3 On Friday, Jesus Christ is crucified. Authors Lord Andrew Lloyd Webber is now undoubtedly considered to be the most successful composer of musicals worldwide. He is the only composer in the present, who has up to three shows simultaneously playing on Broadway and in the West End in London. It has been more than 50 years since he wrote his first musical (Likes of Us, created together with Tim Rice in 1965, but never officially released until 2005). His ten-year collaboration with Tim Rice began with the musical Likes of Us during his studies at Oxford University, where Lloyd Webber studied the history of art. The oratorio Joseph and the Amazing Technicolor Dreamcoat with the Old Testament theme followed, which was just a step away from the rock-opera Jesus Christ Superstar. The musical Evita achieved worldwide success in 1976 with the theme of the brilliant and tragic fate of Evita Peron, wife of Argentine dictator Juan Peron. Its theme song “Don´t Cry for Me, Argentina” reached number one in the charts even before the
Load more

Recommended publications
  • This Jesus Must Die ]Esus Christ Superstar Moderato Annas                 Good Cai-  A- Phas The Coun- Cil Waits for You
    This Jesus Must Die ]esus Christ Superstar Moderato Annas Good Cai- a- phas the coun- cil waits for you. Tbe Pha- ri- Moderato f 4 sees and Priests are here for you. Caiaphas Ah gent tle 2 6 men you why we arehere.We'venot much time and quite a pro-blem here. Mob (outside )Boys Ho Mob (Outside) Girls 10 Ho sannaSu per star ho san nasup per star san-naSu-per-star,Ho- san.na Su-per-star,Ho- san-na Su-per-star,Ho- san- na Su-per- star cresc poco a poco 3 14 Annas listen tothat howl-ingmobofblock-headsinthe street! A [guide part poco ad lib ] Fm7 Bb7 Fm7 Bb7 16 Annas and Preist2 trickortwowith le-persandthewholetown'son it'sfeet. Heis dan ger Preist1 Caiaphas & Priest 3 He is dan ger Fm7 Bb7 Fm7 Bb7 Bb E Bb 4 19 Preist 3 ous He is dan ger ous that ous He is dan ger ous Mob (outside) Je-susChrist Su-per-star TeIl that you're who they Je-susChrist Su-per-star TeIl that you're who they B
    [Show full text]
  • 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.
    [Show full text]
  • Andrew Lloyd Webber's Musicals
    MASARYK UNIVERSITY Faculty of Education Department of English Language and Literature ANDREW LLOYD WEBBER’S MUSICALS Diploma Thesis Brno 2009 Radka Adamová Supervisor: Mgr. Lucie Podroužková, PhD. 1 BIBLIOGRAPHICAL ENTRY Adamová, Radka. Andrew Lloyd Webber’s Musicals Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2007. Diploma thesis supervisor Mgr. Lucie Podroužková, Ph. D. ANNOTATION This diploma thesis deals with British musical composer Andrew Lloyd Webber and his works. The first part of the thesis introduces Lloyd Webber’s biography, his close collaborators as well as his production company the Really Useful Group and description of all his works. The main part of the thesis is aimed at his musicals Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar , rather their origin and development, the main plot and their main characters that have many things in common. Both these musicals are based on topics from the Bible. The thesis also deals with the librettos and their translation into Czech. ANOTACE Diplomová práce se zabývá britským hudebním skladatelem Andrew Lloyd Webberem a jeho díly. První část práce seznamuje s Lloyd Webberovým životopisem, jeho blízkými spolupracovníky, stejně jako s jeho produkční společností Really Useful Group a popisem všech jeho děl. Hlavní část práce je zaměřena na muzikály Josef a jeho úžasný pestrobarevný plášť a Jesus Christ Superstar , přesněji řečeno jejich vznik a vývoj, hlavní dějovou linii a jejich hlavní postavy, které mají mnoho společného. Oba tyto muzikály jsou založeny na příbězích z Bible. Práce se také zabýva librety obou muzikálů a jejich překladem do češtiny. 2 I declare that I have worked on this thesis on my own and used only the sources listed in the Bibliography.
    [Show full text]
  • Jesus Christ Superstar Is an We Are So Excited That You Have Joined Us Excellent Opening to This Exploration
    PATIOBILL Directed by Deborah Zimmer + Produced by Brenda Townsend 116 S. Kalmia Street, Escondido www.patioplayhouse.com ph. 760-746-6669 ~ Welcome ~ It is my unmistakable honor as Artistic and all of North County for over 50 years, Manager to welcome you to the 52nd and we continue to grow each year. Our season of Patio Playhouse and Patio youth program has long provided a Plays in the Park. nurturing environment for kids and teens to explore the theater arts, free of This season we are bringing you shows charge. that explore family and finding where you belong. Jesus Christ Superstar is an We are so excited that you have joined us excellent opening to this exploration. The today and we entreat you to continue to last days of Jesus, told from the join us for the rest of the year. We follow perspective of Judas Iscariot, this Jesus Christ Superstar with Annie and In musical examines the relationships the Heights at Kit Carson Amphitheater. between Jesus and his disciples and If you wish to join the Patio Family and Mary Magdalene as they delve into become involved with Patio Playhouse, whether there was any other way the please speak to any of our ushers or visit story could end. How inevitable was our website at Judas’ betrayal and how does that affect www.patioplayhouse.com. Jesus’ relationships with Judas and Thank you so much for your patronage! everyone else? Matt FitzGerald Patio Playhouse has been providing Artistic Manager affordable theater and performance opportunities to the people of Escondido ~ Director’s Note ~ Thank you for attending this evening's drowned out! One of the songs that is not performance of Jesus Christ Superstar on my original album states exactly how I and sharing one of my most precious feel today: 'Could We Start Again theatrical dreams! I fell in love with this Please?' I point this out in the hope that rock musical in 1970, when I purchased when you leave the theater tonight, you the first released recording on vinyl LP.
    [Show full text]
  • JESUS CHRIST SUPERSTAR (JCS Logo Here)
    RRCA MUSICAL THEATRE LOGO Proudly presents JESUS CHRIST SUPERSTAR (JCS logo here) Music by Lyrics by ANDREW LLOYD WEBBER TIM RICE JESUS CHRIST SUPERSTAR is presented through and exclusive arrangement with R & H Theatricals, 1065 Avenue of the Americas, Suite 2400, New York, New York 10018 and Two Knights Rights Limited, www.rnhtheatricals.com April 27-29, 2006 Page 2 Show Synopsis It seems especially fitting that the first rock opera, created as a concept album at the end of the turbulent '60s, should have at its center a social and political rebel. Jesus' meteor-like rise in renown provides, as the title suggests, a parallel to contemporary celebrity worship. As His radical teachings are evermore embraced, Judas increasingly questions the enlightened motives of this new prophet, resulting in betrayal. Christ's final days are dramatized with emotional intensity, thought-provoking edge and explosive theatricality. Propelled by a stirring score, by turns driving and majestic, satirical and tender, JESUS CHRIST SUPERSTAR illuminates the transcendent power of the human spirit with a passion that goes straight to the heart. Originally produced on Broadway by Robert Stigwood, JESUS CHRIST SUPERSTAR opened on Broadway at the Mark Hellinger Theatre on October 12, 1971 playing for 720 performances. Musical Numbers Overture Heaven on Their Minds What's the Buzz? Strange Thing Mystifying Everything's Alright Hosanna This Jesus Must Die King Herod's Song Hosanna Simon Zealots/Poor Jerusalem Pilate's Dream The Temple Everything’s Alright (Reprise) I Don't Know How to Love Him Damned for All Time/Blood Money 15 Minute Intermission The Last Supper Gethsemane The Arrest Peter's Denial Pilate and Christ King Herod’s Song Could We Start Again Please? Judas’s Death Trial by Pilot Superstar Crucifixion John 19:41 Page 3 The Cast Jesus .......................................................................................................
    [Show full text]
  • Andrew Lloyd Webber's Andrew Lloyd Webber's
    49th SEASON AndrewAndrew LloydLloyd Webber’sWebber’s Lyrics by Tim Rice All performances at the SARATOGA CIVIC THEATER 13777 Fruitvale Avenue in Saratoga March 8 - April 5, 2014 ✩ PRESIDENT’S MESSAGE Welcome to Andrew Lloyd Webber’s “Jesus Christ, Superstar”, the second production of WVLO Musical Theatre Company’s 49th Season. We hope you enjoy this dramatic and realistic recreation of the last seven days in the life of Jesus Christ. It is a timely reminder of His sacrifice for us during this upcoming Lenten and Easter seasons. Our final production of this 49th season in June/July will be “Crazy For You”, a wonderful all-Gershwin musical with great music, scintillating dance and lots of fun! Presents You’re Invited!! Whether you are already one of our 1000+ subscribers or here Andrew Lloyd Webber’s in the Saratoga Civic Theatre for the very first time, we invite you to join us this November for our 50th season. We increased our prices last season due to higher costs, but we intend to maintain those same prices for our new season. And we will continue our policy of not charging any additional fees for tickets purchased through our Box Office and/or with a credit card. Look at Our Centerfold!!! Included in this program is a special blue insert which we invite you to use to subscribe to WVLO Musical Theatre Company’s 50th Lyrics by Tim Rice musical season. Subscribe NOW to ensure good seats and substantial savings over the cost of individual tickets. Current subscribers may also use this form to renew for next season.
    [Show full text]
  • Two Perspectives on the High Priest Joseph Caiaphas: Challenges for Religious Educators Presenting Jesus’ Passion
    TWO PERSPECTIVES ON THE HIGH PRIEST JOSEPH CAIAPHAS: CHALLENGES FOR RELIGIOUS EDUCATORS PRESENTING JESUS’ PASSION MAURICE RYAN Introduction Along with Pontius Pilate, the high priest Joseph Caiaphas moves to centre stage when the most dramatic events of the Christian story unfold – the arrest, interrogations and execution of Jesus of Nazareth. Despite his central role in the unfolding drama, the gospel authors present Caiaphas as a shadowy figure and offer little context which might assist readers to judge his character, motivations and intentions. His role is crucial to the unfolding drama, but his presence is muted in the gospel accounts. As a result, most Christians remain unaware and uninformed about Joseph Caiaphas. His name is not well known in the Christian story, especially when compared with Pontius Pilate who has attained greater recognition, in part because he is mentioned in the Church creeds while Caiaphas is not. His persona tends to be submerged among the general Temple leadership and Jewish opponents of Jesus. Caiaphas may indeed be their leader but the gospel authors tend to hide him among the crowd of Jesus’ aristocratic opponents. Notwithstanding this lack of information, medieval folklorists, novelists, film-makers, artists, scripture scholars and Christian preachers have rounded out his character, generated their own rationale to explain his decisions and presented Caiaphas as vengeful, jealous, self-serving and misguided. These characteristics of the key Jewish leader have profound implications for the way modern Christians understand Jesus within his Jewish culture. Contemporary understanding of the relationship between Jesus and Caiaphas also has implications for the course of relationships between modern Jews and Christians.
    [Show full text]
  • Jesus Christ Superstar- Dance Party Finale 15 the Crucificxion
    Sing-a-Long Lyrics Table of Contents Page Title 1 Heaven on Their Minds What’s the Buzz 2 Strange Thing Mystifying Then We Are Decided 3 Everything’s Alright 4 Hosanna This Jesus Must Die 5 Poor Jerusalem 6 Pilate’s Dream The Temple 7 I Don’t know How to Love Him Damned for All Time 8 Blood Money The Last Supper 9 Gethsemene 10 The Arrest 11 Peter’s Denial Pilate & Christ Herod’s Song 12 Could We Start Again Please 13 Judas’ Death Trial Before Pilate 14 Thirty Nine Lashes Jesus Christ Superstar- Dance Party Finale 15 The Crucificxion Heaven On Their Minds (Judas) Listen Jesus do you care for your race? Don't you see we must keep in our place? My mind is clearer now— We are occupied— At last all too well Have you forgotten how put down we are? I can see where we all soon will be If you strip away the myth from the man You I am frightened by the crowd will see where we all soon will be for we are getting much too loud. And they'll crush us if we go too far Jesus! You've started to believe If we go too far!!! The things they say of you Listen, Jesus to the warning I give You really do believe Please remember that I want us to live This talk of God is true But it's sad to see our chances weakening And all the good you've done with every hour Will soon get swept away You've begun to matter more All your followers are blind! Than the things you say Too much Heaven On Their Minds It was beautiful but now it's sour Listen, Jesus I don't like what I see Yes it's all gone sour! All I ask is that you listen to me Ah--Ah-Ah-Ah-Ah-Ah-Ah-Ah-Ah-Ah-Ah-Ah!! And remember— Listen Jesus to the warning I give I've been your right hand man all along Please remember that I want us to live You have set them all on fire So come on, come on, listen to me.
    [Show full text]
  • Christology in Film and Musical Drama
    CHRISTOLOGY IN FILM AND MUSICAL DRAMA PETER A HARSCH STEPHEN M BEALL, PHD MARCUS PLESTED, DPHIL MAY 2015 1 Jesus of Nazareth is a sufficiently complex character that there is an entire field of academic study devoted to His identity: Christology. This makes Him exceedingly difficult to portray in fictionalised adaptions, not to mention His religious import to numerous audience members. Nevertheless, attempts have been made, and controversy inevitably ensued. But were these portrayals even Christologically heretical, as commonly alleged, or instead orthodox? To answer this, we shall consider Martin Scorsese’s adaption of Nikos Kazantzakis’ The Last Temptation of Christ, Lord Andrew Lloyd Webber & Sir Tim Rice’s Jesus Christ Superstar, Stephen Schwartz’ Godspell, and Mel Gibson’s The Passion of the Christ. All of these, except perhaps Gibson’s, are typically accused of portraying Jesus as predominately, or even solely, human. In order to evaluate these works’ orthodoxy, we must first define what orthodox Christology even is. To over simplify, Christology may be understood as a spectrum of views regarding Christ. On one end is the heresy of Docetism, that Christ is fully divine and not at all human. On the other end is the heresy of Ebionism, that Christ is fully human and not at all divine. The orthodox position, as defined by the Fourth Ecumenical Council of Chalcedon, lies in the middle of the spectrum: that Christ is “united in one Person [prosopon] and subsistence [hypostasis]”1 and that this “unity of Person…is to be understood as existing in both the natures”,2 with the two natures being “perfect in Godhead and perfect in manhood”.3 Where a work falls on this spectrum partially depends on how much emphasis is placed on Christ’s humanity (leans towards Ebionism) or Christ’s divinity (leans towards Docetism).
    [Show full text]
  • Music by Andrew Lloyd Webber Lyrics by Tim Rice
    MUSIC BY ANDREW LLOYD WEBBER LYRICSLYRICS BY BY TIM TIM RICE RICE IN ASSOCIATION WITH THE REALLY USEFUL GROUP LIMITED PRODUCTION BY REGENT'S PARK THEATRE, LONDON JCS_ProgramCover.indd 1 3/28/2018 10:29:44 AM THE BELOVED BROADWAY MUSICAL COMES TO LYRIC IN SPRING BERNSTEIN SONDHEIM LYRIC PREMIERE NEW COPRODUCTION MAY JUNE , LYRICOPERA.ORG .. DIRECTOR SET DESIGNER WEST SIDE STORY Based on a conception of Jerome Robbins Book by Arthur Laurents Music by Leonard Bernstein Lyrics by Stephen Sondheim Francesca Zambello Peter J. Davison A coproduction of Lyric Opera of Chicago, Houston Grand Opera, and Glimmerglass Festival. Original production directed and choreographed by Jerome Robbins. COSTUME DESIGNER LIGHTING DESIGNER Lyric Opera premiere of Bernstein’s West Side Story generously made possible by Lead Sponsor The Negaunee Foundation and cosponsors an Jessica Jahn Mark McCullough Anonymous Donor, Randy L. and Melvin R. Berlin, Robert S. and Susan E. Morrison, Mr. and Mrs. William C. Vance, and Northern Trust. LYRIC OPERA OF CHICAGO Table of Contents JOHAN PERSSON IN THIS ISSUE Jesus Christ Superstar – pp. 19-35 6 From the General Director 21 Cast 47 Look to the Future and Chairman 22 Synopsis/Musical Numbers/Orchestra 48 Major Contributors – Special Events 8 Board of Directors 23 Artist Profiles and Project Support 10 Women’s Board/Guild Board/Chapters’ Executive Board/Young Professionals/ 30 Musical Notes 49 Lyric Unlimited Contributors Ryan Opera Center Board 34 Director’s Note 50 Commemorative Gifts 12 Administration/Administrative Staff/ 35 After the Curtain Falls Production and Technical Staff 52 Ryan Opera Center Alumni 36 Patron Salute 14 The Thrill of It All: Lyric’s Around the World 2018/19 Season 37 Aria Society 53 Ryan Opera Center Contributors 19 Tonight’s Performance 46 Breaking New Ground 54 Planned Giving: The Overture Society ALL ABOUT NEXT SEASON pp.
    [Show full text]
  • Superstar Backgrounder
    production summary A global phenomenon that has wowed audiences for over 40 years, Jesus Christ Superstar is a timeless rock opera set against the backdrop of an extraordinarily well known series of events, with a modern twist and an undeniably powerful score. This musical classic illuminates the transcendent power of the human spirit with a passion that goes straight to the soul. Featuring the amazing music of Andrew Lloyd Webber and lyrics by Tim Rice. Phénomène mondial qui séduit le public depuis plus de 40 ans, Jesus Christ Superstar est un opéra-rock intemporel qui a pour trame une série d’évènements extraordinaires bien connus, présentés avec une approche moderne et une musique absolument puissante. Cette œuvre classique fait la lumière sur le pouvoir transcendant de l’esprit humain avec une passion qui va droit au cœur. En vedette, l’incroyable musique d’Andrew Lloyd Webber et les paroles de Tim Rice. the 2018 charlottetown festival team Artistic Director Acting Music Director Production Manager ADAM BRAZIER CRAIG FAIR KELLIE D. KNIGHT Festival Music Director Associate Artistic Director Technical Director BOB FOSTER MARY FRANCIS MOORE DOUG MORUM General Manager of Theatre Associate Producer Theatre Administrator DEAN CONSTABLE SARAH DENMAN-WOOD CINDY RILEY Jesus Christ Superstar Stage Management Team Production Stage Manager MATTHEW MacINNIS Stage Manager SAMIRA ROSE Assistant Stage Managers AL GADOWSKY / ERIKA MOREY / CHANTAL HAYMAN Apprentice Stage Manager COLE VINCENT 10 tickets: 1 800 565.0278 Superstar backgrounder INTERVIEW WITH DIRECTOR ADAM BRAZIER MUSICAL SYNOPSIS JESUS CHRIST SUPERSTAR WHO’S WHO JESUS CHRIST SUPERSTAR If you think about it, the creation of the rock opera Jesus Christ Superstar is, in a way, a miracle.
    [Show full text]
  • Katedra Anglistiky a Amerikanistiky Magisterská
    Masarykova univerzita v Brně Filozofická fakulta Katedra anglistiky a amerikanistiky Magisterská diplomová práce 2006 Helena Kalábová Masaryk University in Brno Faculty of Arts Department of English and American Studies English Language and Literature Helena Kalábová Film vs. Stage Versions of Translations of Song Lyrics in Hair and Jesus Christ Superstar M.A. Major Thesis Supervisor: Mgr. Simona Mazáčová 2006 2 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 3 Acknowledgements: I would like to thank to Mgr. Simona Mazáčová for helping me to delineate the subject of my thesis, for providing me with some useful materials and for comments, advice and suggestions. I would equally like to thank to prof. PhDr. Miloš Štědroň, CSc. for recommendations of relevant and useful reference materials and for advice. 4 Table of Contents 1. Introduction ............................................................................................................................7 2. Musical theatre .......................................................................................................................8 2.1 Definition .............................................................................................................................8 2.2 History ..................................................................................................................................9 2.3 Basic Characteristics ..........................................................................................................10
    [Show full text]