Rating: 
Summary: Outstanding stage reproduction
Review: I watched both versions (original '70s and this one) back to back. The raw energy of the singing is outstanding in this version...a little flat in the other (like someone left out the stereo...). Not having to deal with sweeping scenery, it zooms in on emotion in the faces...the songs are the stars here....not the desert. I think people (especially young people) can relate much better to this updated modern version. Also...note how Jesus' wardrobe changes throughout the play...first appearing in cargo pants, muscle shirt and tennies and gradually reverts to the dress of antiquity. Judas is outstanding, and Pilate blew me away. Jesus' song to God in the Garden is much more powerful here. In the other version, you don't see Ted Neeley's face through much of it...he's too busy climbing a rock. This is a MUST SEE for JCS fans!!!
Rating: 
Summary: A well done revision of a classic
Review: As Lent rolls around every year, I always pull out my well-worn copy of Jesus Christ Superstar on CD. (I wore out the album, twice). The music of ALW and Rice is superb and moving. I've seen the Jewison version of this movie a number of times, and my fiance and myself actually thought that's what we were buying on DVD when we purchased this copy...however. It didn't take us long to figure out this wasn't the same movie we'd seen before.In terms of the sheer power of the story, this newest entry into the market is head and shoulders above the Jewison rendition. While I much preferred the way the first JCSS was filmed (on location, etc.) the performances in the Edwards' film were much more powerful. It pays to remember that when ALW/TR wrote the original score, their goal was to bring Christ to the people of the day. This staging certainly accomplishes that, even if it's not really my 'style.' Glenn Carter as Christ is tormented by his 'role' as the Messiah, obviously conflicted about his relationship with Judas (more on Pradon later), often poignantly affected by his coming trials. His voice did seem a bit 'weak' for the material, but it is the scenes of him in the final moments (after his arrest through his cruxifiction) that reduced me to tears. He lives the pain...it is apparent in every move he makes, every expression on his face. Judas...what can I say. From the first moment, he captured me. I've never seen Judas as the cold, calculating man he is frequently portrayed to be. To me, he was a puppet in the hands of a power he couldn't begin to understand. He is afraid for Christ and the apostles, that much is made clear. To him, it's a obviously a case of saving Jesus from himself...but it backfires when he realizes what the Romans really have planned. Pradon in this role is perfect. First of all, his voice is stunning. He sings this role as if it were written for him. He's just flashy enough without letting it intrude on the story he's telling. The scene where he realizes what he's set in motion with his kiss is one of the most moving depictions I've ever seen/heard/read of that moment in time. I'll be looking for more of his work (hopefully in English!) Fred Johanson is amazing as Pilate -- a towering presence with a soul. The pathos in his voice and face (and body language) as he pleads with Jesus to 'help me help you' made me stop and think about Pilate in a very different way. Rik Mayall as Herod is perfect. Herod has frequently seemed 'silly' in other productions. Mayall's rendition makes him a bored aristocrat with a razor edge of nastiness under the surface. Not someone I'd want to meet in a dark alley. Renee Castle as Mary Magdalene is good -- arguably better than Yvonne Ellison as an actress, though I think perhaps Ellison's voice was a little more suited to the music. That could just be because I've never heard anyone else perform it. This is NOT, repeat NOT, a movie to watch with your children. (Mature teens will do fine, but it's just too intense for the little ones.) There is some interesting costuming in the scene where Jesus is carrying his cross and the graphic intensity of the beatings/floggings/cruxifiction are very disturbing. That's part of what made this version more powerful for me. If you love the music and want to really feel the pathos of the last days, I strongly recommend this.
Rating:
Summary: Can't stop watching!
Review: Great up-to-date version of JCS. Have watched it over and over again, and each time it only gets better. Would definitely recommend as an addition to your dvd collection.
Rating:
Summary: Head and Shoulders over the 1973 Ted Neeley version!
Review: This is the version I always dreamed could be made! The vocals are all strong with the unfortunate exception of Mary Magdelyn whose voice is really a bit weak. The concepts are fresh and fitting and I just loved it!
Rating:
Summary: The Greatest Story Ever Told.
Review: I'm only thirteen but I was twelve when I first saw this. I really enjoyed it and watch it frequently. It's a musical that people of all ages enjoy. I think Tim Rice did a brilliant job on the lyrics and Andrew Lloyd Webber did a brilliant job on the music. I think all of the cast were brilliant especially Glenn Carter (Jesus), Jerome Pradon (Judas Iscariot) and Tony Vincent ( Simon Zealotes). There was no effort in Glenn Carter's voice. He was incredible and a great actor. The music is wonderful. The film and music is creative genius. There is no end to the good comments I could give.Tony Vincent was also brilliant. He looked great for the part of Simon, he's a brilliant actor and one of the best voices in the cast. I think that a lot of young and older people don't understand the story of Jesus but I think that if they watch this then they will start to understand what happened between him and Judas and that Judas was not the bad guy. God intended Jesus to die and decided he would be the one to betray Jesus. I think that it could not have been written as better as it has been. If Jesus knew he was God, then where's the pain and real part of the story? In my opinion I think it was brilliant and I give it 5 stars. Not just for the film but also for the music, cast and the way it was written.
Rating:
Summary: Hey JC JC You're Alright By Me
Review: Wow! I completely loved this movie! I go to a Catholic School so I'm glad that the director of this movie made Jesus seem like a man for once. Judas almost had me in tears! I think that he is an amazing actor and had me on his side from Strange thing Mystyfing to after his death. Mary hasa beautiful voice and she captured everything that she felt in her facial expression. Cheers to her! Renee Castle (the actress who played mary)did an amazing performance in I dont know how to love him which was a beautiful song. However, I think that Glenn Carter was not right for the part of Jesus. Why did he keep trying to sing so high? The part wasnt right for his voice range (me being a singer myself at the new england conservatory). Overall this was an excellent movie...a must have!
Rating:
Summary: The Great Jesus Christ Superstar
Review: I had watched the 70s film version of JCS and was not impressed much, then I had this DVD. I was captured right from the beginning and couldn't believe how great it is! This production is a piece of theatre caught on screen. I experienced everything I could have experienced in a real theatre while sitting in the front row: the realness, the dramatics, and the rawness, plus the surround Dolby 5.1, which, however, cannot be experienced from the stage. This musical itself is the kind of show that no matter where the stage is set, the essence and the musicality will always be there. However, when it is set in the 90s New York City, the effectiveness of the drama is magically amplified and intensified. Moreover, the T-shirt garbed, young and vigorous disciples in the hippest hairstyles, and the catchy choreography are simply closer to the young people at our time. Musical is meant for the theatre and stage. It needs a stage, no matter if it is a real stage or one on screen. Once the play is set on the stage, everything falls into place. The theatrical acting becomes quite captivating. I could point out a few weaknesses of the vocal delivery in the show, but they are complemented by the greatness of the acting. "He is a man, he's just a man." While Glen Carter reveals the human nature of Jesus Christ very truthfully (definitely with credit to his look and figure), he couples the outside softness with the inner strength very well and creates the profoundness and extraordinariness of Jesus. "Every word you say today gets twisted round some other way." The complexity of Judas is more emphasized on his loyalty to his mission, rather than his greediness. Jerome Pradon, taking on the most challenging part in both acting and singing, is remarkably good. "I don't know how to love him." The soothing and smooth voice of Renee Castle distinguishes herself as the best Mary Magdalene I've ever heard. Tony Vincent, Wow! Just couldn't be better. The ardency in his singing and acting catches the rebelliousness of Simon Zealotes brilliantly. This is the show that once you start watching, you won't be able to pull yourself out. So get yourself a comfortable chair, let music wash you, let emotions drown you, let words and melodies hit, sadden, and inspire you. This is the magic created by Andrew Lloyd Webber, Tim Rice, Gale Edwards, the cast, and many others.
Rating:
Summary: ;0)
Review: I am 14 and saw this version about five weeks ago with my friends. Since then I have fallen in love with it and have watched it atleast 3 times a week since then. I can safely say that I know a lot of the fine details when watching this. Although I am not Christian I found this production completely compelling. I think that Glenn Carter as Jesus icould have been better cast as he does not seem to portray the part very realistically but the costume progression is very interesting. Whereas, Judas by Jerome Pradon is marvellously put across and even if the voice does go in some parts I think this adds effect as he is supposed to be dying. I also like the the black leather jacket for his costume but he cannot walk in his shoes and the costume for "Superstar" is quite tacky. Renee Castle as Mary Magdelane is supberb and conveys feeling magnicentally, and is very pretty. The other parts of Annas, Caiphas and Pontius Pilate are also well done and entertaining. The apostles do seem to get on rather well and of a high standard of acting, particularly Simon Zealotes (Tony Vincent) as my friend would say. Overall I like the way this production is shown on screen although still like theatre. Gale Edwards as director has done a very good job
Rating:
Summary: NEAR perfect
Review: This is an absolutely terrific production in many ways. First, the overall look is fresh and vibrant. It's well directed and the costumes are terrific. Each character's costumes really make a statement about the character, a simple shirt and khakis for Jesus, a sexy but not slutty dress for the conflicted Mary, black leather for tormented Judas, a sleveless camoflauge shirt for the rebellious Simon Zealot. It's simply brilliant on every technical level. What most impresses me about the production is how the director manages to keep intact the feel of a theatrical, not cinematic, experience, while using the video to escape all the theater's limitations. The sets are very bare, yet still complement the action on stage without overwhelming it. Particularly brilliant is the cross made of stage lights. OK, onto the cast. Renee Castle is the absolute best Mary Magdalene, period, end of story. Her acting and singing are both superior. Everytime she's on screen she grabs your attention-portraying a wealth of emotions in a single facial expression. "I Don't Know How to Love Him" is gorgeously sung, and she uses it to really give insight into Mary's feelings, while avoiding the overpowering Diva tendencies of other people who have sung this song. Her "Could We Start Again Please" will make you want to cry. I loved Jerome Predon as Judas. His voice is powerful, and he really makes you understand the complex nature of this character. He manages to convey every aspect of the character, Judas' cynicism and self-hatred, his loneliness, his compassion, his alienation from Christ and the other disciples, while still making us see his deep love for them. Actually, Judas, not Jesus, is really the protagonist of Jesus Christ Superstar. It's no easy feat to make an audience sympathize with Judas, but Predon pulls it off. Also of note in a smaller role is Tony Vincent as Simon Zealot. He really only has one big moment in the Hosanna sequence but he makes the most of it. Extrodinary voice. Unfortunately the rest of the cast isn't quite as strong. Glen Carter does a very good, but not fantastic Jesus. My main complaint about him is his constant use of falsetto. Obviously he thinks his falsetto is one of his strong points-which it's not. It just sounds screechy, and thus ruins some of the most emotionial moments in the play, like the Gethesmane number, which is otherwise brilliant. If he'd have stuck with his fine normal range, he'd have been perfect. The other bad performances are Pilate and Rik Mayall as Herod. The guy playing Pilate overacts laughably, with his eyes nearly bugging out of his head at every take. His voice is great, but his expressions are like something out of a cartoon. And, speaking of cartoon, Rik Mayall is God-awful (pardon the pun) as Herod. The man can't sing, act, or dance. I've never been wild about Herod's number anyway-it's OK, but having that big comedy number at that place in the play completely cuts the dramatic build from the arrest to the crucifixion. In my opinion it should be cut from every production, or at least moved to earlier in the play. Overall, though, this is the version to see. I'd really call it four and a half stars, just short of perfect, but that isn't available.
Rating:
Summary: Top of the Pole
Review: I agree with an earlier reviewer that this version is different than the 73 film. It takes a bit of time to get used to it. For me it was hard not to see some of the actors / singers from the earlier film, particularly Carl Anderson. Once I got over the adjustment, I found this production to be simply wonderful. Because it is shot on a set rather than outdoors, and because of the advances in cameras etc. the viewer is transported into the action. You see all the subtle facial expressions and interactions between the characters that is simply missing from the technically challenged Jewison film. There is for example, no "day for night" film that leaves one barely able to make out Jesus singing the climactic song in the Garden of Gethsemane. Glen Carter is refreshing as Jesus though I, unlike many others, always liked Ted Neeley's performance. Jerome Pradon presents an engaging Judas. Chiaphas and Annas are perhaps a bit over the top, yet they are entertaining, as is Pilot. I still am debating the appropriatness of giving the Romans/Pilot's uniforms a Nazi look, and I think Pilot's Characterization is over stated, but it is very intense, captivating and powerful. Mary is beautiful and has the greatest voice of any of the Marys to date. Her presentation of "I Don't Know Hot to Love Him," in my opinion the most important song in the musical, is breath taking. In my estimation, I think this version, with modern look and feel, will help make the entire piece more approachable to younger viewers. It will better communicate the emotions of fear and pain that Christ experienced. The strength of Superstar has always been the ability to make Jesus more than just an historical figure. He is someone who was real, as was his sacrifice. Another valuable perspective is that of Judas. He is more complex than is traditionally presented. This Judas is someone who has faults, but they are similar to the everyday faults we all share. Superstar portrays Judas as committed to the ministry, but not fully committed to Jesus. He is competitive with Christ to the point that he thinks he can force his hand if Christ is arrested. The motivations for Judas's betrayal are akin to subtle self centeredness that most of us battle on a regular basis, and they stem from his ego rather than his greed. This production best conveys to youth today some sense of what these real people actually felt and how they experienced life. A few years ago, I showed the 73 film to a youth group. They were so turned off by the very obvious 70's characterizations, costumes and choreography, that they laughed at some of the most powerful and intense moments. No one does that with this version. The 39 lashes is most powerful as is the "Could We Start Again" seqence. Again the voices from top to bottom are top notch without sounding too theatrical/formal which I have found to be distracting in other recent recordings. Alas, I simply find this production to be, in the words of one of the Pharisees, "top of the pole."
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