Rating: 
Summary: Superb and unexpected
Review: This was a marvelous interpretation; the best I've ever seen. All the comments of the other reviewers are apropos and I just want to add kuddos to the staging and the lighting. This was a glorious, gritty, inspirational, gut wrenching portrayal. All the principals were wonderful. I vote for more musicals with these performers. All I can say is, before you watch it, put everything else aside and center yourself. You are in for a sensational ride!
Rating:
Summary: After waiting for 6 months, I finally feel complete!
Review: This movie really hits everything right on target. Firstly, the actors are fantastic. Glenn Carter does such a super job as Jesus that I was completely and totally astonished and chilled. I saw him on Broadway as Jesus, and thought he was absolutely terrible live, but since the vocals are pre-recorded, I finally got to appreciate Glenn's beautiful studio voice. The emotion and expressions he uses, he just FEELS the character and the moment. Jerome Pradon is pretty good as Judas, although many of his songs were tuned down a whole step and he still screeched. Plus he lacked the raw energy and attitude Tony Vincent put into the role on Broadway. But it's a hard character to play, and his acting and singing (for the most part) was very impressive. Renee Castle as Mary Magdalene was pretty good too. Maya Days on Broadway has a stronger voice, but Renee Castle did a very decent job. Fred Johanson as Pilate was really scary and intimidating which is pretty much how a Pilate should be. (his teeth really scare me though) Finally, Tony Vincent as Simon Zealotes. What more can you say about the guy. He's got it all. Acting, looks, singing, he's everything rolled into one. He stole scenes that he didn't even sing in; he's that good. So of course the Simon Zealotes sequence was(in my opinion) the best part of the whole movie. In addition to the fantastic acting, the sets and lighting were cool although naturally some of the live atmosphere was lost. The Herod number was very creatively thought of (Herod's a Las Vegas showman) but the choreography could have been better and Rik Mayall sings like a dead fish. This production is exactly the same as it was on Broadway. So, if you liked Broadway 2000, I highly recommend seeing this. Everyone should see this. It's really depressing at the end, but with all great art, the cry feels deserved.
Rating: 
Summary: This Jesus is no superstar!
Review: I know this is a contradiction of all other reviews, but here goes. Gleen Carter as Jesus was surprisingly and greatly dissapointing. I was never ever convinced of the fact that he was Jesus, never! I sat wacthing the video, I bought the day it came out mind you, and was absoulutly astonished at his one dimintioned interpretation of the character. His sharp contrast between little facial expression and suddenly much too much! Is wonderful for the Theatre but as an actor one must know the distinct differnce betwwen the two mediums. His small voice lent nothing to the emotion, he has a beautiful falsetto but not the right kind needed to pull it off. This part is famous for it rock like screeching, he gave a light soprano instead. I found him to be very unattractive, not in looks (that too) but in charisma. He had none, I never felt sorry for him, the key is to evoke empathy. On the other hand! All other aspects were done very nicely. Jerome Pradon was absoulutely astonishing as Judas. Those are the type of internal emoitions I would have liked to see from Jesus. Gleen Carter played all of his emotions on the outside, nothing was happining behind his eyes. I did find that since Gleen did not react off of Jeromes' Judas in quite the right way the realationship sometimes resembled a homosexual affair. Which could be an interesting take, but not what was intended here. Renee Castles' Mary was quite wonderful, I found her voice to be a bit too pop, for her powerful ballad "I don't know how to love him." But she did well, I would much rather cast an actress who sings, rather than a singer who acts. As for the others they gave marvelous performances. It was directed beautifully, with its interesting camera angles, and rich color scheme. Edwards had a wonderful concept, and different interepretations were refreshing. I have been in the show and I have never thought of it done quite this way before. Nice production, but when Mary sings of Jesus, "I don't how to love him, I don't see why he moves me. . ." You may find you agree.
Rating:
Summary: You won't be able to tear yourself away!
Review: Once you get past the fact that the disciples look as if they just stepped out of "RENT", you'll enjoy this video immensely. The Tim Rice/Andrew Lloyd Webber years produced the best work to date out of either man's career (with the possible exception of "Chess"). If you're looking for a purely Christian musical about the life of Christ, this is not for you. It's about so much more than the last six days of the life of Jesus. Rice and Webber used the story of Jesus as a parable to illustrate the dangers of being different and defying the norms of society. The establishment will go to extrordinary lengths to quiet the voices of those who are a threat. The people who criticize the musical and call it blasphemeous don't understand what the musical is trying to say. JCS never attempts to be dogmatic. It's just a story, and the fact that it is told over and over and in many different constructions shows the validity of the message. I've seen multiple productions of JCS and this one ranks among the best. It can be made or broken by specific moments in the show and this video shows just how well this story can be told.
Rating:
Summary: WOW! Buy it!!
Review: THIS is the version to buy and see! Jewison's 1973 film is good in its own way (though the "hippie" look dates it badly - as the "punk" and "goth" look of this version will likely do to this one 25 years from now), and Jewison's Judas is superb - but this Judas is almost as good in a different way, and all the other actors are the equal or better of Jewison's. JC Superstar is not a perfect work (see my comments following), but this may very well be the perfect presentation of JC Superstar. It really ROCKS!! And it's gorgeous, too. As in the 1973 film version, I have some similar comments (after all, it's the same script!): 1. Jesus seems ambivalent and unsure about why He is to die and about God's (His Father's) purpose for His death. This is an unnecessary detraction, for Webber & Rice seem to be familiar enough with the Gospels so as to recognize that Jesus spoke of and understood the sacrificial & atoning purpose of His death - and that He would be resurrected, though His faith in this may have nearly failed Him from Gethsemane to the Cross. A Jesus who doesn't know why He is dying becomes inexplicable, not just to Himself, but to those hearing and/or watching the story. 2. The implication or suggestion that Mary Magdalene had or sought to have physical relations with Jesus doesn't seem as strong in this version as in Jewison's film, and that makes this version better, in my opinion. If, per the Gospels, she was one from whom Jesus had cast out seven demons and/or one whose many sins Jesus had forgiven, her relationship to Him would, I think, be more that of a loving servant than one who seems at times to have wanted to be Jesus's lover. 3. Pilate seems more sympathetic toward Jesus and more desirous of saving His life than the Gospels seem to portray him as being. In the Gospels, it was Pilate's WIFE who had the disturbing dream about Jesus. 4. The Jews (not just the Jewish leaders) turn on/against Jesus very quickly and violently after He is arrested, moreso than the Gospel records seem to indicate, I think. In the Gospels, Jesus indicates that it is the Chief Priests and the Scribes and the Pharisees and the Elders who will turn Him over. The people had some part in this, but not so strongly as the film portrays. 5. Jesus acts angrily toward Judas in a couple scenes, once when confronting him about Mary Magdalene, and again when He sends him away to betray Him. This doesn't fit the Gospel tale, but it does make sense if Jesus is confused about the reason He must die and views it as fate and knows that Judas is fated to arrange His arrest (and this does seem to be Jesus's view, per his statement to Pilate after Pilate has had him flogged and tries one last time to save His life - and Jesus tells him that it's all "fixed"). 6. In the accompanying documentary, the actor who plays Pilate explains the reason for the 39 lashes being that 40 lashes would kill a man, and Pilate knew that if he had Jesus lashed one more time, He very well could die. Actually, the 39 lashes comes from a Jewish custom to make sure they did not violate the commandment at Deuteronomy 25:3 - which says that a man who is ordered to be beaten for a crime should not be beaten more than 40 times, lest it degrade him in his people's eyes. Pilate, being a Roman and not a Jew, and judging Jesus for violating Roman law, not Jewish law, would not have been bound by this 39/40 lash restriction, and may not have even known about it. The Roman scourging/flogging that Pilate sentenced Jesus to was not the humiliating and painful (but not fatal) punishment the Jews meted out under their law - the Roman scourging could indeed cause great physical harm and death.
Rating:
Summary: Can we say AMAZING?
Review: I was a little scared to buy this DVD as Joseph... was a let down. But Gale Edwards did things with this musical that NOONE could have. She actually let you see INTO each character and how they felt and what their intentions were. When I heard that Tony Vincent was going to be Simon instead of Judas, I was a little disappointed, but Jerome Pradon did an excellent job. His voice took some getting used to, but his acting and his facial expressions were superb. Tony Vincent did an awesome job as Simon. I was not surprised as he is an excellent singer (on top of being gorgeous). Renee Castle's Mary was right on the money. She was so confused as to what was going on with her. Did she love him? Why did she love him? Should she love him? Her portrayal was right on. Caiphas was amazing (what a basso voice!!!), as was Annas. Pilate had a great operatic voice (another one to get used to). I was very impressed with the 39 lashes. What creativity Edwards has... I don't want to ruin that moment for anyone. Basically, this DVD was a huge suprise to me as it was truly amazing. I don't say that about many things, but this is DEFINATELY deserving.
Rating:
Summary: Forgive my ugly comment, but the new JCS is still terrific
Review: I saw this via TV on the last X'mas Eve. First thought: Goodness,It should be another history lesson. But it was 200% out of my estimation. I am extremely weak about concentration on everything. I seldom saw a program without doing other things. But it was the very rare exception. I had never seen any musicals except "Joseph" and "JCS"(both of them were on TV). I saw the former first. Even I thought is can't be better: cheerful, creative, though not quite touching, which no one supposed to be. Maybe it is not quite suitable to compare this two masterpieces because the theme , the tone are totally different. But if I can only buy one of them, I would choose JCS. Joseph is entertaining, funny, and following the original story in the bible quite well. It is a very distinctive point from JCS. The structure of JCS is from the bible, and any other things, including the underlying idea and spirit, are the smart changes and creation on their own. I don't know how to appreciate and analyse musicals. But it is enough for you to realise one point: it shocked heavily an idiot of art.
Rating:
Summary: Excellent Adaptation!
Review: I was kinda taken back at first when I saw this. It was a little different than I expected. But then I realized that it is meant to look contemporary, as the 70's movie version was in it's time. I thoroughly enjoyed it. It had excellent production values, the music sounded fantastic. Oh and the cruxifixion sequence brought me to tears...it was that dramatic. A highly recommended DVD.
Rating:
Summary: Tony Vincent steals the spotlight
Review: I had the great opportunity of actually seeing Tony as Judas during the Broadway revival of this wonderful show. Although I did enjoy the movie greatly, I much preferred the Broadway Cast, and I missed a few of the actors, such as Manoel Felciano. I think that this video is a vast improvement upon the version with Ted Neely, and it satisfies your appetite if you are truly missing the Broadway version. I highly recommend this DVD.
Rating:
Summary: A musical that's restricted to mature audiences only!
Review: A brilliant production in every sense of the word! Gale Edwards' interpretation of this fascinating musical rocked me to tears. What was Norman Jewison thinking when he did the Disney version -which actually might as well have been animated with the Original Broadway cast members singing? You need not even worship musical theater to appreciate this performance. Each and every performer shines through with the depth of a superbly seasoned theater actor. I have seen many stage productions of JCS, but this one really captures what, I would like to believe, Andrew Lloyd-Webber and Time Rice had in mind while they were putting it all together - perhaps even beyond their wildest expectations! Glenn Carter is a profound, multi-dimensional JC with stunning bravura. Jérôme Pradon, the deeply moving Frenchmen from Les Miz (Paris cast), Saigon (with Joanna Ampil in London), and Martin Guerre (Original Cast) fame and fortune is Judas incarnate-so intense is his portrayal, imbued with remarkable passion and fervor, that puts JC's favorite apostle the substance never before felt. Fred Johanson as Pontius Pilate is the quintissential guilt-ridden public victim. (That's even a whole lot better than how I would have imagined "Pilate's Dream" sung.) Renee Castle is a luscious Mary Magdalene with incredible pitch and belting power. Rik Mayall performs a very camp Herod without the nelly nuances of many past Herod's. Frederick B. Owens as Caiaphas sounds like an incredible well-honed baso profundo with Isaac Hayes' unmistakable timbre. Michael Schaeffere's Annas is terrific without the ubiquitous falsetto. Tony Vincent is an astonishing Simon Zealotes, and Cavin Cornwall is a powerful Peter. I incessantly laud David Grindrod, and Johanson Liff for their impeccable job at casting (a very tough job, indeed), Roger Kirk for the ingenius costumes, Ivan Unwin for art direction pregnant with deep thought and inspiration, Peter J. Davison for his flawless production design, and, of course, Nick Knowland for the excellent, and drop-dead cinematography. The editor, Nick Morris, did very wonderful work that made this finished product a gem. The only loopholes that actually distracted me in this production were Anthony Van Laast's extremely bland and uninspired choreography, and the ensembles often disturbing upstaging antiques - the, sometimes, overdone facial contortions probably would work well in live theater, but when filmed up close, it sometimes did appear like it was day one in Drama 101. This is a must-buy for every adult with a video player at home, and if you have a dolby surround theater at home with a DVD player grab this one immediately. It will most definitely rock you to tears. It is the opera-masters' intense tradgedy in rock format. Vedy bloody good. Bravissimo!
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