Rating: 
Summary: Definative, if not miscast
Review: The definative version of Jesus Christ Superstar is now available, and I must say I am pleased. For the majority of the cast, the voices and overall acting were on-the-dot. It was much better than the 1973 movie, and the energy of a live performance shone through, which is usually difficult in transferring stage to film.
My only problem was with Glenn Carter. His voice was too sweet, even in the more confrontational sequences, and he couldn't hit any of the necessary high passages for Jesus without going into an extremely weak falsetto. His acting was all right at best in many parts, and in other parts, abyssmal. He is even smiling while he chases out the moneychangers.
However, Jesus can really be overlooked in such a show as Superstar, as he is merely a central character around whom all the action revolves. The rest of the cast is sensational at worst. Special kudos to the lighting at the beginning of the betrayal, and to making the priests into illuminati.
The only other bad thing I have to say is on the part of the directors. Judas becomes too evil too quickly, and we don't see his emerging doubts. These particular decisions are usually more in the hands of directors than actors, so I'll lay it on their doorstep.
Rating:
Summary: An arresting production!
Review: I first came across this video when my mom brought it home from the local library for us to view it. Since I had no idea that this version was out, I believed she'd brought home the 1973 version (which I'd seen years before but didn't really want to see again), and didn't believe that it was a newer version. The first images not only made me realize this wasn't the 1973 version; it also glued me to the edge of my seat!What is it about Gale Edward's production that makes it so much better than the 1973 production? Maybe I should begin with the acting and singing, as that's what I first noticed. First on the parade is Jerome Pradon as the infamous Judas Iscariot. Pradon certainly enabled me to understand and even at times sympathize with Judas's situation (no small feat, considering Judas is all too often reviled by many, including myself). I'm pretty certain I saw Judas witnessing the Roman guards drag off a Jew; and if I'm right in that, it certainly makes his fears as expressed in "Heaven on their Minds" understandable. But he's not the only fine actor or singer. Glenn Carter's Jesus was certainly not passive -- just listen to him in the "Simon Zealotes/Poor Jerusalem" sequence if you don't believe me! He's not a bad singer, either. Renee Castle as Mary Magdalene was also very good. Whether you agree with the interpretation of her as being in love with Jesus or not, she certainly makes it believable, adding more fuel to Judas's fears about Jesus's losing control over the masses in the process. And speaking of Simon Zealotes, Tony Vincent was brilliant as the revolutionary follower of Jesus; Frederick B. Owens and Michael Shaeffer brought great singing power to Caiaphas and Annas; and Rik Mayall made a hilarious King Herod as nightclub entertainer. In fact, my mom said there wasn't a bad actor/singer in the bunch, and I tend to agree. The staging also got high points for me (it would be awful in a cinematic film, but as it's made for video, that point doesn't matter), since it's a (usually) successful modernization of the musical. However, I will say that the "Superstar" segment was my least favorite part, although I don't know if that was because it was too garish or just so painful to watch. Ultimately, however, I'd say the reason I was glued to the edge of my seat was because it was so passionate, and for that reason, the last parts of the film were painful for both me and my mom (as I suspect it was intended to be). So I'd say the passion behind the actors and behind Gale Edward's direction is why I found this version of "Jesus Christ Superstar" an arresting production!
Rating:
Summary: A wonderful remake
Review: A surprisingly wonderful remake of a classic.
Rating: 
Summary: The winner is: JCS 2000
Review: Waited until I had both versions of JCS to compare them. The winner is without any doubt the new version. The cast is so much better in this performance. Especially Glenn Carter is the big winner: he has such a great voice and his acting is outstanding. His "Gethsemane" is the best I ever heard - it's just fantastic!!! How can anybody even remember Ted Neeley! Glenn makes Jesus a lot more accessible by being more human and touching. He is not afraid to show fear and pain where it is needed (39 lashes and crucifixion). He really is the best Jesus Christ ever - he is born for this role! Jerome Pradon and Renee Castle are also outstanding - the whole cast makes this new version to a very special event!
Rating: 
Summary: What were they THINKING????
Review: This was the worst version of Jesus Christ Superstar I have ever seen!The singing (especially Judas) was HORRIBLE! And the staging was awful. I can't believe Andrew Lloyd Webber actually approved of this whole project. Im so disappointed in it and Im sorry I wasted my money.I was about to turn it off, but I watched all of it in hopes that it would get better, but it didn't. I should've have just bought the movie version.I actually didn't even want to rate this one star, but I couldnt leave it blank. I'll give it one star just for the hanging of Judas, because it put us out of out misery for a few songs.
Rating:
Summary: The smaller parts steal the show
Review: maybe i'm just too used to ted neally, but was there a reason glenn carter was cast besides his hair? he either overacted or didn't act through the whole show, and gethsemane, which is supposed to be a dramatic, emotional climax, came off as dull and boring. Judas and Mary Magdelaine were good, though not up to my expectations, and i could barely stand to listen to Fred Johansen butchering Pontias. The rest of the acting was suprisingly good, though. Peter had a beautiful baritone that complimented Mary perfectly in "Could We start again please," (my favorite of her numbers in this production) Caiaphas was sufficiently evil (though consistently upstaged by the wonderfully creepy Annas), and Tony Vincent, of course, upstaged everyone. i have to say that he was the reason i watched it a second time (and no, not for his looks, though they help). he is a truly talented singer and actor, one of the few in this production that came through with both. Herod was...ahem. well, the actor can't really be blamed for this. he was poorly cast. the whole idea of herod's palace being a lounge scene was ridiculous. the actor did what he could with the part, but he couldn't salvage the scene. The sets and costumes were good, although they obviously don't fit into ancient israel, neither did the bell bottoms of the past. the production was never meant to be accurate as far as that goes. the song "superstar" in my opinion was done very well, because it portrayed the scene in the way i've always looked at it: Jesus, in his final hours, is hallucinating. i'm sure that's not how it was ever intended, but it feels right to me. this is not for the squeamish or traditionalist, but overall the good, to me, outweighed the bad.
Rating:
Summary: Stellar Superstar!
Review: Thank God for DVD because i would have worn out a video tape in the first three months i had it! If you like this piece of music, you'll love Gale Edwards' modernized and exquisitely refined production. 30-somethings like me, who remember the concept album or 1973 movie from their childhoods will feel right at home in the 21st Century ambiance this film's stage sets, lighting and costume design. It's loaded with unexpected sybolism to satisfy and fuel the hungriest of minds and most active of imaginations, even after several viewings. The casting is brilliant. All of the actors/actresses give outstanding, Oscar-worthy performances filled with intensity and emotion. Their passion for their work is immediately noticeable, giving the impression that they had a ball making this movie, which in turn gives the film itself an extra spark and plenty of energy to drive the story from start to finish. Glen Carter's pleasingly melodramatic portrayal of Jesus takes a focused viewer on an unforgettable emotional roller coaster ride. The wide range of feeling with which he imbues his character gives Christ a very human and accessible edge without compromising his spirituality. Carter's singing is extraordinary as well, with smooth transition between notes and a tendency to hold a single note unwaveringly. His occasional breaks into a rougher voice add to the intensity of his performance and give it a touch of rawness that compliments Jerome Pradon's Judas. "Raw" is an excellent word to describe Pradon's Judas, but i mean it in a good way. His Yin is the perfect opposition to Jesus' Yang. From the beginning, he sees the dark side of what is happening by viewing the same journey from an earthly, material perspective rather than the heavenly realm of mind that Jesus struggles to maintain. Pradon's acting and singing are just as heartfelt and bold as Carter's, yet necessarily courser and darker, befitting his character. Instead of holding to solid notes, he usually lets his voice fluctuate and sometimes falls into a hardness that beautifully conveys his emotional pain by inflicting it on the listener's eardrums. The result is delightfully heartwrenching. Fred Johanson gives Pilate a wonderful blend of cold and cruel with warm and compassionate, restrained with explosive. He sings in the same manner, his soft, moaning voice in "Pilate's Dream" later contrasted to an extreme with strictness and severity in "Pilate and Christ" and "Trial Before Pilate," where he places extra emphasis on thorough pronunciation of hard consonants. His style is fascinating and unique. Tony Vincent's wild and punkish Simon is the true leader of the apostles at times, including Cavin Cornwall's reserved Peter, while Renee Castle's graceful, loving Mary Magdalene is at others, creating an interestingly obscure power struggle that never evolves into confrontation. One minute, the apostles follow Simon's battle cries for revolution against the Romans, the next they follow Mary's calls for peace. Both eventually exhibit a deeply rooted frustration over Christ's refusal to take either path in their own understood sense. Their lively, energetic performances and singing are flawless. In contrast are Frederick B. Owens' Caiaphas and Michael Shaeffer's Annas, accompanied by three priests, who are always in agreement, fearful that Jesus is a threat to their politacal power. Annas' skinhead Nazi look and icy, heartless demeanor are matched by Shaeffer's sharp, cutting voice. Annas looks to the more authoritative Caiaphas as a superior and Owens' low, deep vocals help to illustrate his position in the hierarchy. Both portray their characters with a subtle humor that prevents them from being overly dark or evil while maintaining just enough seriousness to avoid being comical. Rik Mayall's Herod, on the other hand, while explicitly vile, is highly comical, a flashy showman who introduces himself on a stage with a group of line dancers. His smartly odd, mocking voice is sure to elicit a smile from the viewer, even as Jesus watches Herod's stage show in silent, thoughtful disdain. Like Johanson, Mayall has a unique style that is highly entertaining and fun to watch. Throughout the film, the ingenious use of lighting conveys moods and transforms the simple stage set into a wide variety of settings, from dark, ominous halls to bright, sunlit streets, a back alley and a crowded marketplace. Graffiti scribbled on the walls contains messages that apply to various aspects of the film, adds intriguing angles to the symbolism therein, and, though it may seem strange, actually fits the type of story being told. This movie is deep, thought-provoking and absolutely fantastic. Now for the negative. Hmmmm... Nope, sorry, i can't come up with anything. Though, it would have been nice if they had included a lyric booklet in the package.
Rating:
Summary: Techno-fascist homoeroticism
Review: I enjoyed this video. Not to the extent that I liked _Joseph and the amazing technicolor dreamcoat_, but at least as well as the Jewison version. It has its problems, a Judas without the range for his notes being the main one. The Cleansing of the temple also felt flat. A couple of songs have been rewritten, and I find the revisions jarring. And no matter how many machine guns they give the apostles, they're still just pretty gay boys in berets. Every move and expression gives them away. On to the good stuff: The Herod staging is the best i've seen. It works perfectly with the music style. I would have liked to see more of the choreography, tho'. Pilate is one scary dude, but doesn't have the compassion or audience sympathy to carry off the end of the scene. Annas is absolutely terrifying. He puts me in mind of Pink in _The Wall_ after the transformation. Mary is perfect. She's beautiful, her voice is spot-on. Simon Zealotes is cute in a sanitized boy-band sorta way. he is as representative of the era as the dreadlocked Simon in 73. And yes, it is played as a love story, according to Pradon himself. That comes through extremely clearly.
Rating:
Summary: Well done Gale.
Review: Well, this is a tad bit different than everyone is used to i think. After seeing the show on channel 8, I was amazed. The voices were better, the costumes were more interesting, and the screenplay was new and exciting. In my opinion? A real winner for Gale Edwards. Judas's voice was amazing!
Rating:
Summary: Five-Star Superstar
Review: I never saw any version of Jesus Christ Superstar before I watched this essential filming of the stage version on PBS, and I loved what I saw! Glenn Carter performs an alright Jesus: few facial expressions, but when he acts he acts well, and his voice makes up for some of it. Renee Castle is a touching Mary Magdalene, and Fred Johaneson is terrific as Pilate. Tony Vincet really stole the show, though!! He is a terrific singer and great actor, and it is a shame he was cast as Judas only on Broadway and not in the film. Onto Jerome Pradon's Judas... I saw Jerome Pradon in Whistle Down the Wind on London and I swear I am not making this up- he hit every note and his voice didn't crack. Acting-wise, he is terrific and evokes much sympathy in his tragic role. But the singing... However, I did read an interview with Pradon in which he said that he was asked to play Judas as part of the London cast, but he turned it down because he claimed he was absolutely not a tenor and could not sing the part. I wish the directors had listened! This is definitely an amazing musical that will change your perspective on musical theater, religion, and Really Useful's cast choices.
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