Jesus Christ Superstar: Live Arena Tour

Jesus Christ Superstar: Live Arena Tour_720p(480P)

Ok, to be totally frank, NOT ONLY am I a huge Tim Minchin fan, I've watched all of his concerts & shows I could find and some of series AND I've been listening to the original JCSuperstar album since the early 70's. All of my kids, who are full grown adults now, love the album. When I heard about this UK arena tour video, WOW! I was so excited to watch it, but then I saw that Tim had been cast as Judas, that just added to my delight. Now, I get that not everyone likes Tim's act, he can be fairly caustic to a gentle mind. But I just love his stuff. Swearing & all. You cannot deny the guy is super talented. This production was placed in a rock arena, as creators ALW & TR had originally planned while writing it. With a huge flatscreen at top of the steps which lets the audience see better close-ups. The 1973 movie was very good (8/10), but as talented as Ted Neely was, I would've preferred to have seen Ian Gillian in the Jesus role (he does Jesus on the original soundtrack). In this version, Ben Forster is pretty good as Jesus. The way the arena is set up, if you're familiar with the original Norman Jewison film from 1973, you'll know where each scene & character is 'supposed' to be. Tim is excellent as Judas. MelC ,as Mary, is easy to watch. I love her gothy/punk look. So, maybe I'm not unbiased, I've watched this movie so many times since buying it. I highly recommend it to anyone who likes JCS or Tim Minchin or rock operas or just a good show to spend some time on. PS: Another Tim Minchin achievement is "Matilda, the Musical", he wrote all the songs and they are brilliant! (Watch Matilda at least once with the captions on so as not to miss any of his sharp lyrics!).

source: Jesus Christ Superstar: Live Arena Tour

First off, I should say that the filming itself of this production is well done. Good camera angles although the editing never lets them breathe enough. Still a well filmed live production I would say. I've given this a 6 largely in part due to the production value. The production itself however is strange. They have really modernized it (nearly post-modernized it), which actually makes it feel more dated times. The dystopian hierarchy is a very cool change that I liked, but other changes like turning the temple into a night club just didn't work and ruined the integrity of the original scene. They also auto tune a lot (if not all) of the voices, plus apply many other vocal effects, and it's really really noticeable. Jesus also just was miscast. He can hit the high notes, but doesn't have much strength or power to them. Range isn't everything. His voice is far to smooth and soft for material that requires full voice screaming. Sounds like a Bee Gee instead of hard rock screaming. I must point out that sings the wrong vowel sounds quite regularly too, which really should have been caught by the music director. Tim Minchin really does steal the show as he appears to be just about the only person on stage who really understands and is dedicated to the material. He gives it his all, and it's a real travesty that they auto tuned and smoothed out the grit in his voice as the role of Judas is not supposed to sound nearly as smooth at they made it. Overall it's an interesting adaptation. If you're a fan of the musical in general, you might enjoy it just as a different take, but the vocal effects alone will ruin it for many classic theatre fans.

I heard about the original and saw it on tv and it was unbelievable. Ted Neeley was perfect for the role and Yvonne Elliman voice was smooth. I was fortunate to see this live in the 1990s with Ted Neeley reprising his role. A show of a lifetime. I found this during the pandemic and its incredible. Ben Forster is great emotional singer but Tim Michin as Judas steals the show. Melanie C floored me and like most I didn't realize her full talent until this show. I bought it to add to my collection of musicals.

If only I could go see this now with this cast, Tim minchin is the star of the show! I could watch it over and over, fantastic!!

Good adaptation to the modern time, but without Tim Minchin, it's not worth watching

Musical movies may unjustly be the most harshly judged of all film genres. Some classic Hollywood masterpieces translated beautifully to stage (such as "42nd Street" and "Singing in the Rain") and others made a perfect leap from theatre to celluloid (I may mention "Grease", "Rocky Horror"). And others, sadly, never quite succeeded in either medium. "Jesus Christ Superstar" is such an example. A concept album, originally released in 1970, the live production never quite matched the edgy counterculture light rock of its vinyl counterpart. A first film attempted in 1973 was a minor curiosity, but hardly a cinematic masterpiece. A modernised straight to DVD filmed performance from 2000 was egregiously awful with singing better suited to a fourth grade pantomime. Now in 2012 the already dated irrelevant show is updated yet again for a turgid interminable arena spectacular that fails both interest and attention. Lord Lloyd Webber received a lot of slack for his uncompromising casting of a reality star in the lead, yet at least the man can hold a note unlike the bizarre and deplorable casting of a failed Australian worst comedian whose unrelenting use of autotune quickly wears thin. Rounding out this pathetic cast of miscast musical misfits is a former Spice Girl who, again, nevertheless reach a high c despite having the acting gravitas of rotting sheep carcass. "Jesus Christ Superstar" may have been now considered an accurate yet eccentric representation of seventies zeitgeist, but endless flogging of the world's most deceased horse only leaves this bloated earache as enjoyable as Pilate's punishment of 39 lashes.

Tim Mitchin and Mel C were great in the show, both have impressive voice and excellent play. Only one thing made this marvellous piece of art a little bit "sour": playing of Ben Forster. He acted like a hysterical child, though his voice was fair good, except some overtone.

This is surely the best attempt at rejuvenating Lloyd Webber and Rice's under appreciated work since the 1973 movie featuring Ted Neely and Carl Anderson. It does however fall into similar traps from previous productions, in so much as, directors incessantly feel the need to modernise or set it in some kind of wacky environment, sometimes at the expense of logic. The most bizarre example being Ponteous Pilate doing push up's after tennis, whilst pondering Christ's fate. This production is for arenas and stadiums only; A gift to the awesome array of session musicians, who smash their way through the big numbers with aplomb, whilst still providing tenderness where needed. The cast also benefit from the size and scope of this production, but for different reasons. As a paying member of a 40,000 strong audience, one can imagine being swept away with Mel C's Magdeline, as would her voice have been swept away with reverb, and bolstered by the awesome accompaniment. But on TV, listening to the direct feed from the desk, her interpretation lacks all subtlety, and is harsh on the ears. No doubt her brief stint in the west end production of Blood Brothers, entertained Lloyd Webber's sensibilities both Musical Theatre, and commercial. Sadly, Ben Forster as Christ also disappoints due to a lack of rock authenticity. He seems to have the range (although he does seem to split his long held high note at the end of Everything's Alright - did that go unnoticed in post production? Or was it the 'warts and all' approach to editing live events?) but the higher notes are reached not unlike a choir boy. The 'screams' of Ted Neely and Ian Gillan are here replaced with a dulcet falsetto. And there is a lack of anger: Tim Rice's interpretation of Christ in his final days is as impatient and angry, as would any real man's mentality be. Forster however, is a whimpering victim, failing to find the good stuff needed for The Temple scene, and only marginally improving for Gethsemanie. Tim Minchin, however is a ray of light. There is no doubt that he delivers vocally in his big numbers, but that's where his focus seems to be, and not on the smaller moments where his voice is quite thin, and glassy. But due to the benefit of close up telly, his complete and utter emotional investment in the character, and what's at stake are undeniable. Whilst I'm not a massive fan of his tone, It's a great performance, with little attempt at hiding or covering up his own stylings, putting his own stamp on the character - a rock 'n' roll hallmark. Chris Moyles is adequate as Herod. This is to Superstar what Master Of The House is to Les Miserables, and is much loved, a lot of fun, and therefore, hard to get wrong. The 'wacky' re-imagining DOES work here, presenting the song as a live 'phone-in' /Jerry Springer-esque telethon of some kind. Bringing us round to design. It's done really well, with a huge screen covering various on stage moments, as well as providing storyline background ideas, atop a huge staircase. of which some steps retract or move. On the whole, it's great to see Superstar given the treatment it finally deserves, and as a fan of the show, musician, and actor, my hat goes off to the rollicking band, and energetic supporting cast. Superstar rocks, again!