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Rather than a "review," each post features a collection of observations, intended primarily for people who've already seen the play. Check out the introduction post for more context.
Photo by Patrick Randak/NBC
Throughout the broadcast of Jesus Christ Superstar Live in Concert, hashtags related to the event dominated Twitter’s list of trending topics. Why? Are people unable to watch a two-hour program without concurrently using their smartphones? Or is social media a way to bring together a community of people in isolated places? Is this a harbinger for the widespread adoption of “tweet seats”?
Jesus Christ Superstar Live in Concert made a clear point of exposing its theatrical elements. The live audience was not only heard but seen, lighting instruments were clearly visible, and a few vocalists used handheld microphones. Acknowledging the show’s intrinsic “theatre-ness” paradoxically resulted in a less artificial production than other live-for-television musicals, most of which attempted to create a degree of realism by concealing all traces of technical equipment from the viewers at home. Of course, realism is a relative term in a genre defined by people singing. I’m referring to ways that recent made-for-television productions tried to build a comprehensive world that existed without awareness of an audience, regardless of whether it’s grounded in history (like The Sound of Music Live!) or fantasy (like Peter Pan Live!).
Photo by Patrick Randak/NBC
A number of online commentators noted that Brandon Victor Dixon’s electric portrayal as Judas overshadowed John Legend’s performance as Jesus. While Jesus Christ is the titular character, the real superstar has always been Judas: the narrative arc focuses on his betrayal and forgiveness. Plus, Judas performs the musical’s most frenetic songs, “Heaven on Their Minds” and “Superstar.” (Sidenote: Ben Vereen and Josh Young both received Tony nominations for their performances of Judas in the 1972 premiere and the 2012 revival, respectively, but no Tony recognition was ever earned by actors for the role of Jesus.)
Outside of theatre, Broadway veteran Brandon Victor Dixon was relatively unknown before Sunday night, though he did make national headlines in 2016 after calling out then-Vice President-elect Mike Pence during the curtain call of Hamilton (where BVD played Aaron Burr).
One last Brandon Victor Dixon comment: check out his dynamite performance with Toronto’s Choir! Choir! Choir!
Photo by Patrick Randak/NBC
In live theatre, performances matter (obviously). But design matters, too. From wild costumes to elaborate tattoos to evocative lighting, Jesus Christ Superstar told its story with striking images.
How might these theatre-on-television musicals impact attendance for theatre-in-a-theatre productions, both on Broadway and elsewhere? Research on the National Theatre’s NT Live broadcasts indicates that filmed versions increase audience interest in attending the live productions. Perhaps unsurprisingly, then, the 2016 London production of Jesus Christ Superstar will tour North America in 2019.
Photo by Peter Kramer/NBC
Singer-songwriter Sara Bareilles has established herself as a bona fide theatre artist. A soaring performance as Mary Magdalene follows her work on surprise Broadway gem Waitress (for which she not only composed music & lyrics, but also stepped into the lead role).
Television networks seem focused on family musicals (The Sound of Music, Peter Pan, Hairspray!, Grease, etc.). You could imagine that massive adult audiences might tune in for a slightly-risqué-yet-mainstream musical like Cabaret, Chicago, Kinky Boots, or Rent.
Photo by Peter Kramer/NBC
Jesus Christ Superstar has a complicated history with cultural casting; reviews (and protests) of the 1973 film version debated the implications of a “blond Jesus versus black Judas.” The 2018 NBC version featured a multicultural cast, especially among the principal roles. And yet, there hasn’t been a widespread public outcry about the portrayal of Jesus by a person of colour. Evidence that America is gaining acceptance with cultural diversity (seems unlikely, given these turbulent times)? A result of Hamilton’s ground-breaking cast? An indication of increased cultural representation in mainstream entertainment? Hard to know for sure, but it’s comforting to think that society might be making progress in terms of loving thy neighbours.
—Nick Hanson
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