Jesus Christ Superstar Live! (NBC) - General Discussion

[Inquisitionist]

8 hours ago, rmontro said:

I hadn't realized when watching that Dixon was the guy who played Aaron Burr from Hamilton, no wonder he was so good.

Technically, a guy, not the guy, as Dixon succeeded Leslie Odom, Jr., in the role on Broadway.  Odom won the Tony for his performance.  But damn, I'd have loved to see Dixon's take on the role!  He was Tony-nominated in the same year for Shuffle Along, but lost in that category to Daveed Diggs of Hamilton.

[bosawks]

13 minutes ago, Inquisitionist said:

Technically, a guy, not the guy, as Dixon succeeded Leslie Odom, Jr., in the role on Broadway.  Odom won the Tony for his performance.  But damn, I'd have loved to see Dixon's take on the role!  He was Tony-nominated in the same year for Shuffle Along, but lost in that category to Daveed Diggs of Hamilton.

I saw them both and they were both fabulous, here's my opinion on where they differed.  

I think, overall, Odom's performance was better sung, he just has a crazy smooth voice and Dixon's portrayal more dimensional.  I found the way Dixon portrayed Burr opened more of the idea that if he had just committed to a cause, any cause he would've held his own with the other founding fathers. 

I was more sympathetic to Odom's Burr and way more frustrated with Dixon's Burr but, for me, it was a more interesting Burr.

[TattleTeeny]

Quote

I saw JCS at The Muny in St Louis last summer (with Constantine Maroulis as Judas)

Heh. I saw him in super-small local production that my friend was in way back in the mid-'90s in Jersey; he was Simon, I think.

[rmontro]

9 hours ago, voiceover said:

As far as crucifixion v. Resurrection ending: reminds me of the difference between the Catholic and Protestant crosses.  One focuses on the Death; the other, the Life Everlasting*.  So one could suggest JCS has a "Catholic" ending.  Though I've always thought, since seeing the film, that Judas's title number, and his sparkling garb, was a reference to the Resurrection.

That's a good point.  Judas appears after he kills himself, in transformed garb, so obviously there's some reference to an afterlife there.  Odd in a way that they show Judas resurrected, but not Jesus.  And I'm sure some Christians find that objectionable, since Judas might be "damned for all time".

You're right about Catholics and the crucifix, but Catholics definitely believe in the resurrection, no matter what their preferences in depicting the cross.

2 hours ago, Hanahope said:

Its my understanding that the original play/musical did not include a "resurrection."  To the extent its subtley or more overtly included in performances, its mostly left up to the director/producer's decision.  That's what made it controversial in the first place.  

I've always thought that anyone could watch Jesus Christ Superstar, whether they were a believer or not, and put their own perspective on it.

[meep.meep]

13 hours ago, Irlandesa said:

A review of the show I read, I think Vulture's, pointed out that this was the show's big success; it seemed as if the show had been created with both mediums in mind.  It was theater with some shots created with the idea that it'd be seen, for most, via a square box.  Like that last shot, for instance. I'm sure it was amazing in person but for those of us watching on TV, it was presented in a perfect frame.

That's why my highest praise goes to the director.  I can't imagine what it took to block out all those camera and lighting changes, and then execute them in real time.  In a film, they shoot from many angles, with different cameras, then take it back and splice it all together.  He did this *live*.

[voiceover]

1 hour ago, rmontro said:

 

You're right about Catholics and the crucifix, but Catholics definitely believe in the resurrection, no matter what their preferences in depicting the cross.

I thought that was obvious enough not to have to include it, but I probably should have: Catholics celebrate Easter because Catholics are Christians, and it is a Christian holy day.

[potatoradio]

22 hours ago, goodbunny said:

In defense of the audience being annoying, we were explicitly told to be high energy and treat it like a rock concert.

Ah-ha. Thanks for that insider info. Makes sense. I can understand the presumption that a cheering, lively crowd that's more like a concert than traditional production would make for better teevee. Actually...they could have really taken crowd mentality to a whole new level of breaking the fourth wall. Probably a bridge too far, though.

 

6 hours ago, Hanahope said:

I also thought the idea behind the musical, besides the story of Jesus, was also about creating heroes, putting them up on a pedestal, elevating them to a position they can't possibly fullfill, and then tearing them down. 

Same. My secular mindset immediately picked up on hero worship and groupthink themes. It makes it all the more interesting, to me, to hear what those with religious beliefs think about it and how it affects them (or not). 

[hilaryvm]

I watched this Sunday, and still can't get the songs out of my head.  Growing up, my sister had the original album and played the heck out of it.  I recall watching the movie once, but couldn't get over the cheesy "70s-ness" of it all, if that makes sense.  I was surprised by how much of the music I had retained over the years, since I knew most of the words to most of the songs.

I thought it was super well done.  I also think (whether this is just a choice of this version or not) that while this is the story of Jesus, he's not really the main character.  Judas is.  As a Christian, and someone who has always thought about Judas and themes of predestination and such, that this production did a good job of showing the struggle Judas went through.  I felt bad for him, even though he had done a horrible thing.

I watched the Andrew Lloyd Weber tribute earlier in the week (more of a "watch the live show!" promotion) but ALW addressed some of the controversy around JCS.  He said that Tim Rice never explicitly made a choice whether Jesus was the messiah or not.  People can make their own interpretation of that.  I think that is also probably why the show ends at the crucifixion; if you show the resurrection, you're basically choosing a side.

[bosawks]

I forgot to post about my favorite Norm Lewis part of the performance.

His epic side eye when the Hosannas came rushing onto the stage with their scarves.

It was a thing of beauty. 

[kib]

On 4/2/2018 at 6:10 PM, NoWhammies said:

II understand it was for the staging, but to me it's like listening to something like Dark Side of the Moon or The Wall on digital media - where it puts breaks between songs digitally where there should be no break because the songs flowed into one another back on the vinyl album (yep, I'm that old). It takes away from the flow.

That reminded me of all the work I put in using an audio editor to fix the break on Jackson Browne's "Sing My Songs To Me/For Everyman" digital release (yep, I'm that old)

[rmontro]

19 hours ago, potatoradio said:

Same. My secular mindset immediately picked up on hero worship and groupthink themes. It makes it all the more interesting, to me, to hear what those with religious beliefs think about it and how it affects them (or not). 

I can understand someone going with the hero worship theme, but ultimately in the story, there's more going on.  Just for one example, Jesus knows that Peter will specifically deny him three times. 

[Happy Belly]

I got a message on Facebook that a national tour of JCS is being planned for 2019. no cast announced yet, no cities mentioned yet..too early, but YIPPEE!

[BigDfromLA]

You have to give John Legend a lot of credit. His background is that of a singer and recording artist, not an actor (outside of a small roll in La La Land) and certainly not as a musical theater performer. Yet he was secure enough to tackle this project, likely knowing he would be outshined by all the seasoned theater pros who did so well. I thought he was at his best during the Temple song and scene. Of course his performance was surpassed by Dixon and all the other pros, but give him credit for his courage in doing this project.

I Don't Know How To Love Him is one of the most beautiful songs I have ever heard in my life. Props to Andrew Lloyd Webber and Tim Rice for writing such a profound song at such a young age. 

Murray Head of "One Night In Bangkok" fame?? Lol!!! That was a goofy song!

[pancake bacon]

On 4/2/2018 at 12:04 PM, Mockingbird said:

(The 2000 PBS Great Performance production had plenty of issues, but, oof, you felt Judas' guilt and pain.)

Jerome Pradon was pretty good vocals-wise (Carl Anderson from the movie and Murray Head from the cast recording are usually considered the best), but his guilt, pain and yes, love for Jesus was beautifully portrayed. 

The 2000 performance wasn't live, but the used their camera work brilliantly. Apart from the capturing Judas' narrative with well-timed cutaways, Glenn Carter's Jesus and his growing dismay and fears were also shown. Showing these played out are crucial — the play gets so much substance out of it.

That was the real let-down for me in this recent version: during the Hossana/entrance into Jerusalem, I wished there was shot of Brandon Victor Davis' Judas at some point, and worst of all, saw John Legend looking dopey/out of the moment during the sections of "won't you fight for me" and "won't you die for me." 

That said, the I loved the energy of this new production – the ensemble really brought it up! Like many on this thread, this musical is imprinted so deeply on me; parents played the cast album all throughout my youth every Holy Week, and I can sing along the entire musical, really. I'm not surprised this 2018 staging did well. It's a terrific musical that is entertaining and spiritual. Nearly everyone was fantastic — a great Judas makes or breaks JCS, and Davis was excellent! John Legend and Sarah Barielles (sp?) were a mixed bag: some great high points, but they were a bit of shambles, acting-wise. 

[adhoc]

Since watching the musical last Sunday, I've been out on Youtube listening to Gethsemane sung by most of the key portrayers of Jesus in JCS over the decades: 

• Ian Gillian - from the original 1971 concept album--the one that came out when I was in high school and that I am most familiar with
• Jeff Fenholt - 1971 Broadway Production
• Paul Nicholas - 1972 West End Production 
• Ted Neeley - Jesus in the JCS movie that came out in the early 1970s
• Steve Balsamo - Jesus in the 1996 West End Revival  (This performance is the only one of his I could find from the 1990s. There are others out there that are later, where he's more "in the role" and not just standing there at an awards ceremony singing.)
• Glenn Carter - 2000 Broadway Revival
• Paul Alexander Nolan - 2012 Broadway Revival
• John Legend - 2018 NBC Musical

Each rendition has its own unique style--instrumentation (which changed over the decades), tempo, singing choices, voices (timbre, range, accent), etc.  What might have played brilliantly in the '70s may be looked upon as a little campy by today's standards, I think. Got to keep that in mind. :-)

VERDICT:  While there's a lot to like about most of these, when it comes down to it, I'm all about the voice, so my favorite ended up being Steve Balsamo. I'd have loved to see him in performance as he has an amazing voice and even in a static situation like this awards ceremony, he is quite dynamic.

Edited April 7, 2018 by adhoc

[BlossomCulp]

9 hours ago, BigDfromLA said:

I Don't Know How To Love Him is one of the most beautiful songs I have ever heard in my life. Props to Andrew Lloyd Webber and Tim Rice for writing such a profound song at such a young age. 

I didn't realize just how young they were when they wrote JCS (and Joseph too for that matter).  Just, wow!

Edited April 7, 2018 by BlossomCulp

[kirinan]

2 hours ago, adhoc said:

Since watching the musical last Sunday, I've been out on Youtube listening to Gethsemane sung by most of the key portrayers of Jesus in JCS over the decades: 

• Steve Balsamo - Jesus in the 1996 West End Revival  (This performance is the only one of his I could find from the 1990s. There are others out there that are later, where he's more "in the role" and not just standing there at an awards ceremony singing.)

While there's a lot to like about most of these, when it comes down to it, I'm all about the voice, so my favorite ended up being Steve Balsamo. I'd have loved to see him in performance as he has an amazing voice and even in a static situation like this awards ceremony, he is quite dynamic.

Oh, my goodness, adhoc, thank you for pointing this version out. Like you, I'm all about the voice, too, and his is just incredible. It's vaulted straight to #1 on my list of favorite versions of this song. Don't laugh at me, but up until now my favorite was Michael Crawford's--I saw him perform it in person years ago, and I sat in the audience and teared up, it was so good--but Steve Balsamo's version even blows that one away.  

[rmontro]

11 hours ago, BigDfromLA said:

You have to give John Legend a lot of credit. His background is that of a singer and recording artist, not an actor (outside of a small roll in La La Land) and certainly not as a musical theater performer. Yet he was secure enough to tackle this project, likely knowing he would be outshined by all the seasoned theater pros who did so well.

Yeah, his performance wasn't perfect, but I didn't have a problem with it.  I think that must be a very difficult role to play, even for seasoned theater pros.  I feel like he brought something to it, so that's the main thing.

[ancslove]

I love Michael Crawford's Gethsemane!  I think he would be miscast in a full production, but for a concert performance, it's stunning.  I also really like Katie Hall's version.  (Cosette in the 25th Anniversary Concert of Les Miserables.)  She goes more operatic than rock on the "See how I die" part, but it's still gorgeous.

[rmontro]

54 minutes ago, ancslove said:

I also really like Katie Hall's version.  (Cosette in the 25th Anniversary Concert of Les Miserables.)  She goes more operatic than rock on the "See how I die" part, but it's still gorgeous.

I had to look this up on YouTube since I was surprised that a female would sing this (as Jesus is a male role).  You're right, she does it more operatic, but it is chilling.  Being female helps with the high notes.

[Snow Apple]

On 4/6/2018 at 2:31 PM, Happy Belly said:

I got a message on Facebook that a national tour of JCS is being planned for 2019. no cast announced yet, no cities mentioned yet..too early, but YIPPEE!

I know Chicago is one of the cities because the local news mentioned it.

[pancake bacon]

On 4/2/2018 at 3:14 PM, Silver Raven said:

A lot of people hate the 2000 production, but I love Jerome Pradon's interpretation of Judas.

 

On 4/2/2018 at 4:50 PM, cuppasun said:

 

Well! I was deciding whether or not to confess that I have been one of those fans tucked away in the tiny airless room of the Most Unpopular of Unpopular Opinions...because I really, really like the 2000 production. Like, a lot. Glad to see there are others that at least appreciate it a bit. Make no mistake: I grew up on the movie, but there were aspects of it that always grated, and it never really stirred me much, even though I liked the music well enough. (I got to JCS via an earlier rabid fandom of "Joseph & the Amazing Technicolor Dreamcoat" which I had an original cast record of that I played into oblivion...) I was fascinated by the setting--I really wanted to go to Israel all through my teens & young adulthood, so I loved seeing the landscape. Disclosure: I grew up Jewish, and have been an atheist much of my adult life; JCS has never had religious or spiritual resonance for me. However, I've long been interested, historically, in 1st-century Palestine and have read a lot of books about it, including a number dealing with whether or not there was a "historical Jesus." All of that makes the most interesting bit of the musical for me the story of Judas, as a pragmatist and someone acting in resistance to the Roman occupation, so I liked that stuff. Unfortunately--even though I like the songs and sometimes acting involved--it's also why the part I dislike the most is the "trial" before Pilate, because it perpetuates that pernicious old anti-Semitic canard that the the Jews "killed" Jesus and that Pilate was helplessly backed into a corner regarding his actions.

That's one of the things I so loved about the 2000 production: Fred Johanson was positively terrifying as Pilate, much more in line with historical reality. You don't really get the feeling that the crowd could make him do anything. I liked the atmosphere of the conflict being revolutionary against an occupying force; that's actually what a lot of the messianic leaders that did indeed pop up in droves at the time were about, and Jerome Pradon really captured that. And I liked Rik Mayall's scarier Herod to Josh Mostel's camp version (though I thought the latter was effing hilarious when I was a teenager, heh...). It was the first production that really captured that energy for me, and engaged me.

I was actually kind of stoked to see the set and costuming initially with tonight's production, because it seemed to draw at least somewhat from that more modernized version (I was afraid they were going to try to echo the hippie sensibility of the movie, and while that worked for the time, I don't think it would have worked well here). They definitely leaned harder on the spiritual sensibility than the revolutionary one, and that's okay; many of the performances were very very good, as others have noted: Judas, Pilate, Caiaphas, and MM all impressed me.

And yeah, John Legend as Jesus was definitely the weak link here. Actually, most of the Jesuses from various versions of JCS tend to be (including 2000's)--pretty much except Ted Neely, who did indeed kind of break the mold. There were a couple of moments with Legend that really took me out of the flow: during "Hosanna" when the crowd sings "Won't you die for me?" I was disappointed to see that Legend was just grinning and bopping along with the song. It's a small moment, but in other productions, it's a profound and dissonant one: when Jesus (and usually Judas, too) is startled and disturbed to realize what the cheering crowd is asking of him. It was kind of emblematic of his whole performance: he often seemed to be singing the words to his songs, on cue, but not listening to what they mean, or those of the other songs. I found him either dazed and detached, or kind of petulant most of the time. I'm sorry to say that his performance in the crucifixion scene left me cold, too; he intoned everything exactly the same way, and frankly I got no sense of anguish or pain. And Gethsemane...well, that's supposed to be a rending journey that leaves Jesus emotionally wrecked...and again, I got no sense of that. I think, in the end, he just didn't have the acting chops, which is too bad. 

But oh, yeah, Brandon Victor Dixon for the win.

Heh. 100% with you on "Smoke on the Water." My very first introduction to hard rock was that song, played by a live band (local cover band, not Deep Purple, pout) at a dance when I was about 12 (back in the Cretaceous...), during a co-ed sleepover weekend with the Jewish youth group I'd just joined which took place...at our synagogue! It is, bar none, the baddest of badass rock, and those opening chords are the ultimate time machine for me: instant teenager. And yet, I never knew Ian Gillan did JCS!

 

On 4/2/2018 at 8:03 PM, SmithW6079 said:

 

I enjoyed that production so much I bought the DVD. I had an inappropriate crush on Jerome Pradon's Judas.

 

On 4/2/2018 at 8:18 PM, Snow Apple said:

I like the 2000 version too.

Sorry, but I don't like the 70's movie. I thought it dragged. The only part that I thought was good were the leads singing.

I posted too soon… but I'm so happy to see the love for the 2000 production on this thread! This 'updated' version provided a valuable framework for the most recent NBC Live presentation, which evolved it further in many ways that I loved. You can't just knock the music and libretto of Jesus Christ Superstar — it's memorable and pretty substantial in its approach on Jesus, and the accounts leading to his crucifixion. (Personally, seeing the humanity of Jesus adds to his divinity.) Anyone else sang along the entire show when you watch it again?

[CherryAmes]

14 hours ago, pancake bacon said:

There were a couple of moments with Legend that really took me out of the flow: during "Hosanna" when the crowd sings "Won't you die for me?" I was disappointed to see that Legend was just grinning and bopping along with the song. It's a small moment, but in other productions, it's a profound and dissonant one: when Jesus (and usually Judas, too) is startled and disturbed to realize what the cheering crowd is asking of him.

Overall I liked Legend, he wasn't great but he was fine.  I totally agree with you here though.  The first time I saw that  moment in the movie chilled me and it has stayed with me through the years when I listen to the music.  I was expecting something, some reaction, something, from "Jesus" in this production as well and got nothing.

[Sharpie66]

I finally had time to watch this tonight. As a lifelong fan of JCS, I was very happy NBC did this as a live show—it had a lot of energy, even with the sound issues (Pilate really was almost lost in his last song). 

To show my JCS-fandom, I was born in 1966, and grew up watching late-night Palm Sunday/Easter weekend broadcasts of the movie (the ABC affiliate had Godspell, and the CBS one had JCS, and they alternated every year which got the 10:30 pm time slot on Saturday night before Easter). My sister and I would spent the rest of the year wearing out the movie soundtrack, arguing over who got to sing Judas and who was stuck with Jesus. I bought the CD for the 1994 tribute album released by a bunch of SXSW artists, with the Indigo Girls as Jesus and Mary—that has probably my favorite version of Simon Zealotes’ song, sung by Kelly Hogan as a blues-y jam at a slowed-down tempo.

When my parents asked what I wanted for my 10th birthday, I asked to see JCS at the Arie Crown Theatre in downtown Chicago, my first Broadway show I ever saw live. In the mid-90s, I volunteered as an usher at the Chicago Theatre for a night when Ted Neely, Carl Anderson, and Dennis DeYoung were in town on one of their tours of the show—that really was an excellent performance. 

As for this version, that was great! Even with his lack of stage theater experience, I thought John Legend acquitted himself well, but he was overshadowed by the rest of the cast, except for maybe Peter, who was fine, just not memorable. Loved Brandon Victor Dixon as Judas, and the guy who played Pilate was terrific. SB’s voice was better than I have heard it in the past, Norm Lewis was great as Caiaphas, even if he didn’t quite have the extreme low notes of the film, and I loved Annas.

I really liked how the orchestra moved around onstage, and having the female string players onstage as a sort of instrumental chorus in the beginning was great. I liked how the cast set up the stage during the opening, graffiti-ing JESUS and lighting the cauldron. 

My only real issue was something I really disliked about the 2000 PBS show as well. Having the crowd be the ones to flog Jesus really plays into the whole “Jews are Jesus-killers” toxic fallacy that has caused so much death over the millennia. Either establish that these people are Roman soldiers instead of Jewish crowd members, or have a separate cast member who is established as a Roman guard do the whipping. As someone who has studied the Holocaust since I was a kid, this really bugs me. 

Edited April 9, 2018 by Sharpie66

[proserpina65]

I know I'm late to the party, but I had to tape this and only just got to watch it yesterday.  I'll preface my comments by stating that for me, the gold standard of Jesus Christ Superstar is the original album, with Murray Head as Judas, Ian Gillan as Jesus and Yvonne Elliman as Mary Magdalene.

JCS rises and falls not on the performance of Jesus, but on that of Judas, and while Brandon Victor Dixon didn't quite reach the level of Murray Head, he was so damned close that the difference was infinitesimal.  He was terrific, and more than did his job of carrying JCS on his shoulders.

I was a little worried about John Legend, both because I didn't think he had the vocal range for the role and because he seems so genial in person that I wasn't sure he could capture the emotion.  I'm pleased to say that I was mostly wrong about the emotion, and while I was right about him not having the vocal range for Gethsemane (Ian Gillan in his prime had a range which almost rivaled Freddie Mercury's, and Gethsemane could easily have been written for him, it fits his voice so perfectly), he managed the rest of the singing very well.

Sara Bareilles  also concerned me a little.  JCS was a star-making performance for Yvonne Elliman, not because of how lovely her voice sounded, although it really did, but because of the emotion she infused in her singing.  But I was worried for nought - Bareilles brought the emotion and beauty to the role.

The supporting performances were all quite strong as well, particularly Ben Daniels as Pontius Pilate.  I was not familiar with him at all prior to this, but now I want to see more of his work, because he was fantastic.

And Alice Cooper was, performance-wise, everything I'd hope, having heard him do the role of Herod before.  I did find the staging of his number a little disappointing but I blame that on the producers, as I saw Alice Cooper on tour last summer and know he's capable of filling the stage with massive energy.

Overall I found the staging interesting (Alice Cooper disappointment excepted).  I rather liked the bareness of the sets and simplicity of the costuming.  So I have to say I'm really glad NBC took the chance on this, even though it had to have been risky, given that JCS's take on the Gospels probably was more than a little shocking to the farther right end of the normal Jesus crowd.

[proserpina65]

On ‎04‎/‎01‎/‎2018 at 9:38 PM, ebk57 said:

This was always my issue with Rent - it's a fine show, but they used a tag line something like "nothing you've ever seen in theatre".  And I always answered "only if you've never been to the theatre".  They took themselves awfully seriously.

Or only if you'd never seen La Boheme

 

On ‎04‎/‎01‎/‎2018 at 9:51 PM, janeta said:

Well, he's, what, 70? And no matter what he may think, golf does not get one in shape for stage dancing. ;-)

I saw him on stage last summer.  He's more than capable of dancing.

[CherryAmes]

So annoyed!  I saw lots of stuff from this show on youtube and now it's all been taken down.  In the official NBC site I can't access any videos because I live in the wrong country.  

[Silver Raven]

3 hours ago, CherryAmes said:

So annoyed!  I saw lots of stuff from this show on youtube and now it's all been taken down.  In the official NBC site I can't access any videos because I live in the wrong country.  

There are clips on NBC's YouTube channel, can you access those?

[RedheadZombie]

I've re-watched multiple numbers quite often since it first aired.  Even though I've always known JCS as I saw the movie and played the score in band, I find that every time the orchestra starts the slow opening to JCS, into my mind jumps: 

Way way back many centuries ago, not long after the Bible began

Jacob lived in the land of Canaan, a fine example of a family man

On ‎4‎/‎3‎/‎2018 at 2:51 AM, voiceover said:

And I think someone taking a dump on the logo at Breslin Center is no big deal, but to each his own version of sacrilege.

You're allowed to call their objections "dumb reasons".  But conversely, they're allowed to defend the stance.

I find the opera a deeply religious and profound expression of faith, but I respect the peaceably expressed opinions of those, what don't.  This might be because I am the daughter of a man who was raised in a faith where "zealots" actually murder people who mock their religion.

 

As far as crucifixion v. Resurrection ending: reminds me of the difference between the Catholic and Protestant crosses.  One focuses on the Death; the other, the Life Everlasting*.  So one could suggest JCS has a "Catholic" ending.  Though I've always thought, since seeing the film, that Judas's title number, and his sparkling garb, was a reference to the Resurrection.

 

* I take no credit, or blame, for that comparison.  Got it from a minister and from my Philosophy of Religion professor.  But it's always intrigued me. 

This is an interesting concept that was actually brought up in a Paranormal show I was watching.  As a non-Catholic Protestant, I've always worn a cross but felt  uncomfortable at even the thought of wearing a crucifix - that's for Catholics, I thought.  I always felt that the crucifix was macabre and fixated on the suffering of Jesus.  But on this show I watched, a priest was instructing a family with a demonic infestation.  He said crosses were ineffective, because without Christ's presence, it was simply an instrument of torture.  Now I have no idea if demons feel this way, but the priest (who's obviously probably biased) certainly did.  IMO, a cross has always stood for the sacrifice of Christ and the miracle of his resurrection, whereas the crucifix was simply the suffering death. 

As for Judas's sparkly costume, I know in the movie many have interpreted that the white costume reflected Judas's entrance into heaven.  As that seems highly doubtful since Judas was called "damned" in the bible, even before the betrayal, I think it's simply an indication that this is Judas after death  It gives a hopeful feel to the entire thing, as Judas is the true star of the show.

[rmontro]

5 hours ago, RedheadZombie said:

As a non-Catholic Protestant, I've always worn a cross but felt  uncomfortable at even the thought of wearing a crucifix - that's for Catholics, I thought.  I always felt that the crucifix was macabre and fixated on the suffering of Jesus.  But on this show I watched, a priest was instructing a family with a demonic infestation.  He said crosses were ineffective, because without Christ's presence, it was simply an instrument of torture.

I've heard the arguments about the bare cross vs. the crucifix, and I've never thought it makes any difference at all.  The main reason I've heard Protestants give for the bare cross is because Christ is resurrected, he is not on the cross.  Which is fine, but I see no problem with Catholics wanting to remember Jesus' sacrifice either.  In other words, I respect both opinions.

I agree Judas' sparkly costume doesn't represent his entrance into heaven, just an afterlife of some sort.  I think it's beyond the scope and ambition of this musical to make final judgement on Judas, even though even the lyrics say he is "damned for all time".  Plus the sparkly outfit is show biz.  According to at least one theological theory, everyone is resurrected to face final judgement, and are divided up from there.  So Judas' performance could represent a "limbo" of sorts.

[Sharpie66]

But Judas himself is the one who says he is damned for all time. Maybe after his death he found it to be otherwise. Although, Catholic doctrine would say that he was damned since he committed suicide, let alone betrayed Jesus. Personally, I like to think that he was forgiven for both actions, but I grew up with the double influence of JCS and the Taylor Caldwell book I, Judas, both very forgiving of the man.

[Quickbeam]

I finally got around to watching this....was on my DVR, started to feel guilty. Thought it was really well done. I saw the original on Broadway a million years ago. I am not a huge Legend fan but he was vocally and theatrically impressive. Sara too. I really enjoyed Alice Cooper, not just celebrity casting. Far better than I expected. 

[ElectricBoogaloo]

Emmy nominations:

Outstanding Lead Actor in a Limited Series or Movie - John Legend
Outstanding Supporting Actor In A Limited Series Or Movie - Brandon Victor Dixon
Outstanding Supporting Actress In A Limited Series Or Movie - Sara Bareilles
Outstanding Variety Special (Live)
Outstanding Directing For A Limited Series, Movie Or Dramatic Special
Outstanding Production Design For A Variety Special
Outstanding Casting For A Limited Series, Movie Or Special
Outstanding Costumes For Variety, Nonfiction Or Reality Programming
Outstanding Hairstyling For A Multi-Camera Series Or Special
Outstanding Lighting Design/Lighting Direction For A Variety Special
Outstanding Makeup For A Multi-Camera Series Or Special (Non-Prosthetic)
Outstanding Sound Mixing For A Variety Series Or Special
Outstanding Technical Direction, Camerawork, Video Control For A Limited Series, Movie Or Special

[CherryAmes]

I would have loved to see Erik Grönwall get an Emmy nod.  He doesn't play the kind of music this not so young lady enjoys but he was amazing as Simon Zealotes!  Way better IMO than anyone I'd seen in that role to this point.  Not so sure about the nomination for John Legend but I am really happy that the actors playing Mary Magdalene and Judas got recognition.

[chitowngirl]

If John Legend wins, he will have the EGOT.

[ancslove]

If the show itself wins, Webber and Rice will also have EGOTs, in addition to Legend.

Edited July 13, 2018 by ancslove
clarity

[BlossomCulp]

There shall be EGOTs.

John Legend, Andrew Lloyd Webber and Tim Rice all entered the rarefied and somewhat random group of entertainers who have won an Emmy, Grammy, Oscar and Tony award on Sunday night.

Their triumph came when NBC’s “Jesus Christ Superstar Live In Concert” won five awards at the Creative Arts Emmys, including best live variety special.

With their victories, the three men join 12 other EGOT winners including Audrey Hepburn, Whoopi Goldberg and Mel Brooks.

 

 

https://www.nytimes.com/2018/09/09/arts/television/creative-arts-emmys.html

[ElectricBoogaloo]

The show won a Critics' Choice Award!
Best TV Movie

[WinnieWinkle]

They aired this again around Easter in 2020 and I was expecting it would be on again this year but so far I haven't noticed it listed so I decided not to count on a re-broadcast and ordered it on DVD instead.  Best part is NO COMMERCIALS!

[WinnieWinkle]

On 3/29/2021 at 11:10 AM, WinnieWinkle said:

They aired this again around Easter in 2020 and I was expecting it would be on again this year but so far I haven't noticed it listed so I decided not to count on a re-broadcast and ordered it on DVD instead.  Best part is NO COMMERCIALS!

Quoting myself to say I've just been watching this on DVD and it's SO GOOD!  I liked it anyway but watching it without commercials it flows smoothly and you really appreciate how incredibly well done it was.  To be honest the weakest link was John Legend.  Not that he wasn't good - but everyone else was better!

[DanaK]

On 6/3/2021 at 4:12 PM, WinnieWinkle said:

Quoting myself to say I've just been watching this on DVD and it's SO GOOD!  I liked it anyway but watching it without commercials it flows smoothly and you really appreciate how incredibly well done it was.  To be honest the weakest link was John Legend.  Not that he wasn't good - but everyone else was better!

It bugs me that there's no Blu-ray version. Fot now, it's still on my Tivo and I've watched it a few times