ANNOUNCEMENT!!!!!

This Tour finally has an "official" website!!! - Thank you for posting this to the list, Lynne (Moose) Freels (admin@medmatrx.com)!  There are some very nice photos from the show, the Buffalo review, the itinerary (though it's not as complete as the one on this page - at this point, anyway,) 
and some tour background and credits.  A very nice beginning!  And it's being done by THE REALLY USEFUL GROUP!  It's here:

http://www.thejcstour.com/

UPDATE 5/30/07:

Ted hit the road with The 2007 A.D. (nee "Farewell") Tour AT LAST on 10/5/06!  Since then the tour has been mentioned in the  news a lot lately, not the least these mentions, stated in The 9/20/06 Wharton City Post, was that it may or may not end up being "The Farewell Tour".  I know we are all hoping it won't be, but this is not an official statement, so I guess we will all know eventually, as time goes by.  The merchandise no longer says "Farewell Tour", but the Troika website does.  For now, though, we're all just extremely happy that Ted is back in the limelight for everyone to see, and meet when possible.  Since this tour, and the information released, has grown so quickly by leaps and bounds, I have decided to put everything about this latest "Ted Event" on its' own page, to make it easier for everyone to have easier access to open on computers, check schedules and venues, and look at updates and pictures as they become available.  If anyone has a contribution they would like added here, e-mail it to me, and I will be glad to add it!  I am also open to suggestions to make this page better, as it, along with the rest of this site, is a work in progress.  The bulk of the information you will find here was drawn from these websites initially:

TROIKA ENTERTAINMENT (Troikastar) http://www.troika.com/index.html

JAM THEATRICALS:  http://www.jamtheatricals.com/index.php
                                        http://www.jamtheatricals.com/show_details.php?show_id=139

MAGIC ARTS & ENTERTAINMENT:  http://www.magicentertainment.tv/
Fourth Leg dates here:  http://www.magicent ertainment. tv/superschedule .html

BROADWAY ACROSS AMERICA:  http://www.broadwayacrossamerica.com
                            http://www.broadwayacrossamerica.com/BAA.Web/Pages/TouringShows/index+ShowId+147.html

BROADWAYWORLD.COM:  http://www.broadwayworld.com/
   NOTE:  The tour listings for JCS are currently gone from this page, but this was where they 
                 were first listed.

AUDIENCE REWARDS:  http://www.audiencerewards.com/profile/10_Jesus_Christ_Superstar.aspx 
   NOTE:  The tour listings for JCS are currently gone from this page, but this was where they 
                 were first listed.

CELEBRITY ATTRACTIONS:  http://www.celebrityattractions.com/

...as well as from the generous contributions of "Ted Family" List Members who are listed just above the Venue information section.  Thanks, everyone!!!  

Enjoy the page!

January 26, 11:35 AMSpiritual Life ExaminerRabbi Ben Kamin

It’s not that one doesn’t extend actor Ted Neeley many deserved accolades for his long and illustrious career as a composer, rock singer, actor, dancer, and quite a hip drummer.  He signed first his recording deal with Capitol Records, when he was 22,

That was in 1965.  And, in 1969, at the age of 26, he created the lead role of Claude in the original Broadway musical, Hair.  All of this helped him to land the title role in both the stage and film realizations of Andrew Lloyd Webber’s remarkable and theologically playful Jesus Christ Superstar.  This show includes some of the finest and most impressive music ever composed by Sir Lloyd Webber (whose unsurpassed repertoire includes Cats, Evita, and Phantom of the Opera).

"Hard to forgive them because they knew exactly what they were doing."

Ted Neeley, like the actual Jesus of Nazareth, was just about 30 years old at the apex of his  career, bringing a gifted, pitch-proof, and unforgettable voice to this very significant role—along with an extraordinary physique, sleekness, and dancing skills to rival any man in Broadway history.

That is why it was so painful (even spiritually) to watch him a few days ago trying to fool time, history, and the Bible itself—still playing Jesus in the musical, at the age of 66.  Granted, Mr. Neeley can still carry a tune, and occasionally hit those heavenly-high, screeching notes of pathos and anger that were once near-mystical.  But, though still relatively fit enough to hang on the Cross and groan for twenty minutes in the finale, he just doesn’t look that great in the robe, and the biblical amount of make-up painted across his face only seems to exacerbate one of the greatest cases of miscasting since the Romans.

“He’s cradle-robbing Mary Magdalene!” cried my concerned and alert seventeen year-old daughter.  Such a nice and inclusive Jewish girl, she came to the theater for the touring show to enjoy the lyrics and learn a little more about the esteemed scriptural icon who is deeply worshipped by many of her friends and classmates.

Instead, she saw a Broadway con job, motivated by “star-draw,” money, and theatrical cynicism.  I daresay none of these had anything to do with the historical message of Jesus.  What we had here was not a young, driven, and numinous prophet struggling with fate and divinity, but an elderly, paternal boss admonishing his twelve disciples as though he was the scoutmaster of a Cub Scout pack.

Ted Neeley deserves to perform all he wants—in roles that would make his seniority splendid, not laughable and, frankly, inappropriate.  On the professional level, the part should be turned over to a young actor with hip holiness that would recreate the youthful heartbreak that actually was the New Testament story.  Like Ted Neeley did in 1973.

On a deeper level, way beyond the dramatic disparagement and opportunism, was the sense of disconnect with what is still a true manifestation, if mischievous, of a timeless biblical narrative that is sacred to many.

Hard to forgive them because they knew exactly what they were doing.

Image: Performer Ted Neeley in 2008 (Wiki)

www.benkamin.com

Comments

Sunday, December 27, 2009

When Ted Neeley was growing up in Texas in a devout Baptist home, Jesus was the figure in his church's beautiful stained-glass window.

That Jesus was the son of God, who brought comfort and inspiration to Neeley's family, but he was also untouchable and unreachable.

It was when Neeley played Jesus in the Broadway production of Jesus Christ Superstar in 1971 that Jesus became something far more real for the musician, singer and songwriter.

"Through my experience with Jesus Christ Superstar I finally understood who Jesus the man was and how much he accomplished. He was a remarkable man and I could finally relate to him on a one-on-one basis," says Neeley, 65, who will be at the Jubilee Auditorium for three performances of Jesus Christ Superstar beginning New Year's Eve.

"They're bringing me to Calgary to make sure things go heavenly as we switch from one year to another," he says with a chuckle.

Norman Jewison chose Neeley to star as Jesus in his 1973 film adaptation of the Tim Rice and Andrew Lloyd Webber rock musical, continuing what has become a staggering involvement with a single role.

Superstar, the film and stage musical, have turned Neeley into a superstar.

It also brought him true love. He met his wife Leeyan Granger while they were filming Superstar the film in Israel.

"Leeyan is a dancer in the film. She has been a dancer all her life. She was born in Buffalo, but at age nine she became a member of the National Ballet of Canada."

Neeley and Granger have a daughter and son in their 20s and both at university.

"Our daughter is studying law and our son is in mathematics but they both want to be part of my theatre life.

"It will be good to have an attorney and a mathematician on board."

He says something remarkable happened in the Neeley family dynamics just this year.

"We've gone from mom and dad and the kids to four adults enjoying life together.

"We have a wonderful relationship with our kids. Leeyan and I have always maintained our children chose us and we are the fortunate ones because they are such incredible children."

Wherever Neeley brings his productions of Jesus Christ Superstar, people line up to meet him, thank him for the experience and to ask for his autograph.

It's a far cry from what happened back in New York in 1971.

"For weeks, every night we went into the theatre, we had to wade through picket lines and I don't mean just a few people.

"Those lines stretched around the block.

"I would stop and talk to people and learn they were protesting without having seen the show.

"I'd always invite a few people to be my guests at that performance and they always came back to say how much the show moved them and how wrong they were to picket."

Superstar runs New Year's Eve at 7:30 p.m. and on New Year's Day at 1 p.m. and 7 p.m.

In the nearly four decades Neeley has been associated with Jesus Christ Superstar he has never seen a professional production of the musical.

"It seems I'm always in the musical.

"But I have seen community theatre productions. I've seen children do it and I've seen productions where the performers sit on stools and sing.

"In every case, the effect is the same. The audience is moved to tears and applause."

louis.hobson@sunmedia.ca

PGFreePress.com

Prince George Free Press

Neeley back playing the lead in Jesus Christ Superstar

Neeley was in St. Louis on the weekend, when he talked to the Free Press. The show had a few pre-opening shows there before officially hitting the road.

The bus becomes a traveling rehearsal hall, Neeley says.

“A lot of the rehearsal time we get as a traveling production is spent on technical aspects, so the bus is the only place we really have to work on the lines and how we can make things better.”

That certainly does not involve changing any of the lines written by Tim Rice and Andrew Lloyd Webber.

“We do everything we can to honour what Rice and Webber placed in the book. The changes that have come in have evolved from new information we have gathered since the 1970s. We have learned more about the ways of life back then. The musical is about the reality of the humanity of Jesus Christ.”

Another reason for not changing any of the lines is that it would throw many members of the audience off.

“The audience can probably sing all the songs,” he said. “Sometimes probably better than us.”

Many in the audience probably had their first exposure to the music the same way Neeley did, through the original soundtrack from the Broadway production.

“I was working in Hair with Ben Vereen when the soundtrack came out, and he and I joked that we should try out for the roles, since we were already basically playing Jesus and Judas, just in Haight-Ashbury.”

Neeley had gone back to playing drums in a rock band when he got a call from Tom O’Horgan, who was going to direct the stage production.

“I decided I would audition for the part of Judas. When I finished my song at the audition, Tom jumped up on stage and I was thinking, ‘Yes, I got the part.’

“He came over to me and said, ‘That was great, Ted. Could you come back tomorrow and sing the other role?’”

That was Neeley’s first experience with the role of Jesus Christ, but definitely not his last. When Norman Jewison did the movie version of the story, he tapped Neeley for the lead role.

And now, more than 30 years later, Neeley has returned to a traveling production of the show.

“It’s been a magnificent experience, and I can’t let it go.”

“There’s something new about it every single night.”

Jesus Christ Superstar will play the CN Centre on Jan. 5, with the show starting at 7:30 p.m. Tickets are on sale at all Ticketmaster locations as well as the CN Centre box office, online at www.ticketmaster.ca, or by phone at 250-614-9100.

• Carole Bradbury 1 week ago

  This album "Jesus Christ Superstar" helped me along in my Dance career way back in 1973.Among others this was a fav x 2.Dance,dance,dance-/ Injured,injured,injured. Oh...Well....Still love it...Beats in my heart/mind, especially at Xmas!!

At 65, actor, singer, musician and on-stage saviour Teddy Neeley has something virtually every star wants: He has been 33 for decades and counting and has no plans to stop.

That's because Neeley plays the title role in Jesus Christ Superstar, the famous and infamous rock opera coming to Nanaimo next month. Jesus Christ Superstar will play The Port Theatre Jan. 7-9 with four performances including evening and matinee shows.

Jesus Christ Superstar, the first musical by Tim Rice and Andrew Lloyd Webber to be produced on the professional stage, opened on Broadway in 1971.

View Larger Image

Actor Ted Neely has been playing Jesus Christ for 40 years: "People come to this show and they go away with a smile on their faces," he says.

In one early production, Neeley, who ironically had tried out for the role of Judas, signed on as chorus and also became the Christ understudy. This particular step led to him taking on the title role in the Los Angeles stage version after receiving a standing ovation during a performance earlier in the tour. Castmate and close friend Carl Anderson was touring also as a Judas understudy.

He then had the opportunity to reprise the title role in the film version of Superstar, directed by Norman Jewison, alongside Anderson as Judas. For his performance in the film, he was nominated for Best Motion Picture Actor in a Musical or Comedy at the 1974 Golden Globe Awards.

"In the beginning in New York, this was one of the first of its kind. Hair paved the way and then Jesus Christ Superstar came along and a lot of people were very 

"It was a period of strong feelings. We were in Vietnam and people were protesting that... the country was very polarized about many things.

"When we opened, the show was picketed every night, people were lined up around the block calling it a blasphemous thing. I'd stop and talk to some of them and invite them to come in as my guest," he said.

"Of course many would not, but those who came in to see the show went away with a much different view of it."

To this day, he said, in some of the smaller cities they play, there are still some scandalized people out with picket signs.

"There really aren't many any more. But some do still show up and they use their children to stand there with the signs too," Neeley said. "And I still try to talk to them, to tell them this is a respectful story."

And over the years, the response to the show has changed as more scandalous versions of the Biblical stories have appeared.

Often, both in the early days and still today, after the show, people will approach Neeley to talk about the show.

"They literally come in droves to "talk to Jesus" as if they're talking to their priest," Neeley said, sounding a bit bemused. "They want to talk about spiritual questions."

Since the Seventies, Neeley has portrayed Christ thousands of times all over the globe on stage and millions of times on movie screens and TV sets as part of the movie version that Academy Award-winning director Norman Jewison directed, shot on location in Israel in 1973.

He likes the idea of making Christ accessible to more people.

"In the tiny Texas town where I grew up Jesus was just this stained glass window, untouchable, unknowable," he said. "This show put him on the street where everyone can relate to him."

In 2006, Neeley began headlining another production of Jesus Christ Superstar. Originally billed by some as his national "farewell" tour, this has proven wrong as the show just keeps going, thanks to audience and critical approval. Though with new cast members and a somewhat stripped-down staging from the original version, this is a show that still pleases. The tour is currently booked through 2010.

Neeley loves the process of putting the show together with a new cast every now and again.

"It's great to see these magnificent glowing new faces looking at me like I'm something really special," he said. "Then my southern accent comes out and we all giggle and move on with it."

And while he knows the songs so well by now that he has occasionally woken up singing them, the show goes on because people want it.

"It's a beautiful story. This is a story that everyone can relate to," Neeley said, pondering its perennial success. "It has been translated in many languages and it tells a story people know and love.

"I had no notion when I first got involved with this all those years ago where this was going to go but here we are now and I feel very fortunate to be part of all this.

"People come to this show and they go away with a smile on their faces. There's a simplicity here that people relate to, that makes them feel good."

And while the current show is still the same as the original stage production in many ways, Neeley said his character has evolved over the decades.

"I have learned a lot about life and about what I can do and I've changed so the performance has evolved and changed too in all this time.

"But it's still always something very special for all of us in the cast."

Tickets for Jesus Christ Superstar are available at The Port Theatre Box Office. Charge by phone at 250-754-8550 or online at: www.porttheatre.com.

JESUS CHRIST SUPERSTAR FACTS

- The original Broadway cast recording topped the American album charts three times.

- Ted Neeley headlined the first touring company that opened June 28, 1972.

- The London production ran for eight years and 3,358 performances.

© Oceanside Star 2009

Entertainment

A humble, beloved Superstar: At age 66, Ted Neeley still touring as Jesus Christ

Thursday, January 7th, 2010 | 1:40 am

SAME ARTICLE REPRINTED AS THE FOLLOWING:

Times Colonist - 1/7/10

http://www.timescolonist.com/entertainment/love+Jesus/2415450/story.html

 

Ted Neeley is considered the definitive actor in the title role of Jesus Christ Superstar.

Photograph by: Michael Buckner/Getty Images, Times Colonist

ON STAGE

What: Jesus Christ Superstar

Where: Royal Theatre

When: Sunday, 1 p.m and 7 p.m.

Tickets: $77.50

(tel. 250 386-6121)

What do you call a super-fan who has seen Ted Neeley in Jesus Christ Superstar hundreds of times?

A Ted-Head.

So says Neeley, arriving here Sunday with a bus-and-truck production of Andrew Lloyd Webber's 40-year-old rock opera. The shaggy-maned performer reprises his role as Jesus for two shows at the Royal Theatre.

"I spoke with a lady two nights ago who's seen this show 366 times," Neeley says on the phone from Regina. "The folks who come the most refer to themselves as Ted-Heads."

Now 66, Neeley played Jesus Christ in the original Los Angeles stage production and the 1973 Norman Jewison film. Over the years he has starred in numerous revivals. He stopped counting performances back in the 1990s after they topped 2,000.

Other pop-rock musicals of the period -- Godspell (1970) and Hair (1967) -- have dated poorly. Yet somehow, Jesus Christ Superstar retains its appeal. The current production, with minimal set, was launched in 2006. Originally slated to finish in 2007 (and billed by some as a "farewell tour"), it continues because of popular demand, Neeley says.

On the original album, the role of Jesus was sung by Ian Gillan of Deep Purple. Recent stage "Jesuses" include Sebastian Bach of Skid Row and Swedish glam rocker Ola Salo. Most aficionados agree, however, that Neeley is the definitive Jesus Christ Superstar.

He has performed the role so long, Neeley once encountered five generations of a single family of fans. He has befriended devotees in cities throughout the U.S. and Canada. As soon as he arrived in Regina, fans started ringing the hotel.

"It's opened such an avenue of friendship for me worldwide," he says. "I feel like I can go anywhere and feel like I'm at home."

In Victoria, Neeley plans to meet and greet the audience after the show. He has retained this practice since the early days in New York, when he was part of the Broadway cast. Protesters complained depictions of Christ and Judas were sacrilegious. Neeley then would invite them to see Jesus Christ Superstar as his guests.

"People stretched around the block every single night, trying to stop us from going into the theatre to go to work," he says. "[But] every single person walked away loving what they'd experienced."

They weren't the only ones. Neeley's mother, hailing from in the Bible-belt hamlet of Ranger, Tex., adored her son's role in Jesus Christ Superstar. The family were staunch Southern Baptists. She was especially thrilled when Neeley presented her with a framed close-up of himself from the movie -- so beautifully lit, it resembled a painting. She displayed it prominently in her living room.

"People would say to my mom, 'Where did you get that magnificent painting of Jesus?' And my mother would say, 'That's my boy,' " says Neeley with a chuckle.

He recalls almost losing the film role that clinched his reputation as Jesus Christ Superstar.

Neeley was starring in the rock musical Tommy when he got word Norman Jewison was seeking the lead for a film version of Jesus Christ Superstar. He invited Jewison to watch him in Tommy. However, Neeley was injured for that performance. Jewison ended up seeing the understudy.

To make amends, Neeley invited the director to lunch. Because he "looked like a 12-year-old" as clean-shaven Tommy, Neeley had a friend paste a fake beard to his face.

"When I sat down with Norman, you would have thought he was watching the best comedian in the world. He just fell out of his chair, laughing."

Although Jewison was polite, Neeley thought he had made a fool of himself. Still, something about the young performer impressed the director. He later summoned Neeley for a London screen test, where he landed the coveted role.

Neeley insists playing Jesus Christ for four decades never went to his head.

"Some people envision me as that person," he says. "I let them know, 'Folks, I am just a rock and roll drummer from Texas.' I'm up there playing a character."

achamberlain@tc.canwest.com

© Copyright (c) The Victoria Times Colonist

Monday Magazine - 1/6/10

http://mondaymag. com/articles/ entry/whats- the-buzz2/

Ted Neeley’s passion keeps Superstar alive

It’s not every day you get a chance to speak directly to Jesus . . . unless Ted Neeley’s on the line. But Neeley, who’s been playing the title role in Jesus Christ Superstar since 1972 (and most famously in Norman Jewison’s 1973 movie version), says he doesn’t let it go to his head.                                                                                                                                             Credit: Joan Marcus

“I could open a church if I wanted to,” he says with a good-natured laugh. “It’s so easy for anyone who has the pleasure of doing a role like this to get caught up in how it feels, and how people respond to you. But I have never for one second forgotten that I am a rock-and-roll drummer from Texas who got extremely lucky to be part of this piece.”

Appropriately, Neeley will be crucified (again) Sunday night at the Royal as part of the latest big-budget revival of Tim Rice and Andrew Lloyd Weber’s iconic 1970 rock opera—a three-month tour now entering its fourth year. “Every time I’ve been involved in mounting a new production, they don’t seem to think it has a long life expectancy,” Neeley chuckles. “It’s generally planned for three months . . . but when Carl [Anderson] and I did it in the ’90s, it was a three-month tour that turned into five years.” Anderson, who played Judas to Neeley’s JC in the film, died of leukemia in 2004, and Neeley admits the loss of his “dear friend” makes this tour “more difficult . . . but I still hope every night we can reach at least one person in that audience and make them feel a little better about their lives for a few minutes.”

As well as making a name for himself in the original productions of rock operas like Hair and Tommy (plus later projects like Rasputin and his own in-process Pandemonium), Neeley spends his non-saviour hours as a producer, composer and singer. But hasn’t three decades of temple-shakin’ screeching affected his voice? “Technically, it should have been gone years ago, but it still works,” he laughs. “By nature, I’m a baritone-bass but I’ve got this freaky high thing I can do as well that, over the years, has actually grown stronger with use . . . I guess I beat my voice up enough that I can still take it.”

While he credits the “youthful brilliance” of Rice and Lloyd Weber for creating Superstar, Neeley clearly worships Jewison’s “magnificent vision” of the film. (As well as writing the screenplay, the Canadian filmmaker produced and directed the movie in Israel). “He goes unheralded because of this being primarily a theatre piece, but without your countryman I don’t know if we’d be having this conversation right now . . . We all sing praises daily to Norman Jewison.” And when I mention Islander Jeff Hyslop’s participation in the movie, Neeley responds with sincere excitement. “Jeffrey, bless his sweet heart, was one of the reasons we had such a wonderful experience in Israel . . . you couldn’t mention a person who I feel is more responsible for making that happen than Jeff.” (He also notes the efforts of Toronto choreographer Robert Iscove and “his wonderful dancers . . . that film definitely had an enormous Canadian footprint.”)

And has 40 years of carrying a cross changed his own spiritual outlook? “I don’t believe anybody could do this role for any length of time and not have some connection, just by seeing how people relate to this,” says Neeley, who was raised Baptist but left the church in his teens. “I see how people respond to me, and it certainly changed the way I conducted myself in public, because there are expectations—which I accept wholeheartedly. And it opened my eyes years ago to how vulnerable people really are, how hearts in general are reaching out for some sign of peacefulness, of universal understanding—and I believe this piece touches that. It’s beyond Christianity for me, it’s a universal spirituality that the majority of the people of the world can relate to openly, without being told what they’re supposed to do or say or believe.” He pauses and, with complete sincerity, adds, “I’m the most fortunate man on the face of the Earth because I’ve had that experience.”

Despite having already lived twice as long as the spiritual figurehead’s reputed lifespan, Neeley doesn’t sound ready to give up the holy ghost just yet. “As far as I’m concerned, I’ll do this for another 2,000 years, if they’ll let me.”

And hey, if anybody’s got the connections for that, it’s Ted Neeley. M

----------
Jesus Christ Superstar
1 & 7 pm Sunday, January 10
Royal Theatre, 805 Broughton
Tickets $77.25 • 250-386-6121

'Superstar' tour, with Neeley still at the helm, returns for three-day stop

JOEL D. AMOS - For the North County Times | Posted: Wednesday, January 13, 2010 9:55 am Updated: 10:07 am.

"I could not be more fortunate and appreciative for the adoration I have received as a result of this show," the actor said in a telephone interview conducted when the "Superstar" tour visited Escondido in 2007. The tour returns next week with a three-day, five-show stop at the San Diego Civic Theatre.

"I know this has influenced hundreds of thousands of people for years, and because of the fact that I was one of the players in that work, I am the luckiest man alive. To be able to still be accepted by audiences for

Neeley, 70, created the role of Jesus in the Andrew Lloyd Webber/ Tim Rice rock opera's 1971 Broadway debut, and he reprised the role in a 1973 film version. He has continued to play the part in stage productions ever since. This production, which has been on the road for many years, is being billed as Neeley's "Farewell Tour."

"My life is so enriched as a result of being a part of this for so long. Every night I get a whole new shot of that adrenaline from the wonderful folks who come to see this piece," Neeley said.

This year's touring production of the rock opera features John Twilford, a veteran Los Angeles singer/songwriter and musical theater actor, as Judas. And playing the role of the high priest is Joseph Almohaya, an MFA musical theater graduate from San Diego State University.

Neeley, with his slight Texas twang, said his Christian upbringing not only played into his securing the part in the beginning, but in his decades-long resonance as the title character.

"I can't play this particular character and think of it as just another role," Neeley said.

"People have asked my counsel (in playing the role) from the first day I stepped into that position because I had a deeply religious background. I know the Bible well. Church every Sunday was a part of life for me growing up."

Webber and Rice's first Broadway collaboration launched a soundtrack that hit Billboard's top spot on three different occasions and produced hits including "I Don't Know How to Love Him" and "Superstar." Neeley said he thinks the musical has transcended cultural and religious divides.

"Since it's based on the greatest story ever told, that is a story that will never die. I remember being in Israel in '72 making the film. It seemed the same war was going on then that is going on now, just different costumes. In essence, this show has the same effect, years later. Everyone is looking for some source of spirituality, a peaceful connection, and they are finding it still in this piece," Neeley said.

Although this "Superstar" tour has been billed as Neeley's last, the man who received a Golden Globe nomination for portraying Jesus says he may continue in the role, out of the respect he possesses for his part in a show that has influenced the cultural landscape.

"This is not about religion. It's about humanity. It looks at Jesus Christ in the last seven days of his life through his contemporaries," Neeley said. "This show is about the human spirit that connects us all."

"Jesus Christ Superstar"

When: 8 p.m. Friday; 2 and 8 p.m. Saturday; 1 and 6 p.m. Sunday

Where: San Diego Civic Theatre, Third Avenue at B Street, San Diego

Tickets: $20-$79

 Info: 619-570-1100

Web: www.broadwaysd.com

SDGLN.com - 1/15/10

http://sdgln.com/entertainment/2010/01/15/exclusive-sdgln-interview-jesus-christ-superstar-ted-neeley

Exclusive SDGLN interview with Jesus Christ Superstar, Ted Neeley Esther Rubio-Sheffrey | Fri, 01/15/2010 - 1:44pm | Login to bookmark or comment
(SAN DIEGO) The Tony award-winning production is the first masterpiece from the legendary writing team of Tim Rice and Andrew Lloyd Webber. It exploded onto the scene in 1971, changing the world of musical theatre forever and it is returning to San Diego this weekend for five performances only. As relevant and timeless as ever, this rock opera vision of the greatest story ever told, focuses on the last seven days in the life of Jesus of Nazareth- and is perhaps more potent in today’s troubled world than when first produced. Internationally beloved star Ted Neeley will be recreating his	ENLARGE   Jesus Christ Superstar- Ted Neeley
unforgettable performance once again. Neeley, best known for his Golden Globe-nominated role as Jesus in the Norman Jewison film version, SUPERSTAR, has enjoyed a distinguished career in resident  theatres throughout America, appearing in a wide variety of productions from Hair to the works of Samuel Beckett. He is world renowned for this title role in, Jesus Christ Superstar, with a fan base that borders on a cult-like phenomenon. Neeley was on the road on his way to San Diego [he prefers to travel by bus to see the country], when he took a few minutes to speak to SDGLN about his upcoming performance in America's Finest City. Esther Rubio-Sheffrey (ERS), SDGLN: You have had the unique chance of repeatedly reprising a role you first took on almost 38 years ago – What about being Jesus entices you the most and keeps you coming back? Ted Neeley (TN): Honestly, it is the ability to be able to talk to people every night. Not only from the stage but after the show and see how this wonderful project influences their lives. People are always telling me stories about how they discovered their spirituality or their personal spiritual beliefs by coming to see this play. Consequently I get to talk to several generations of families in every city we go, no matter where we are. ERS: Are there any performances that were particularly meaningful for you? TN: Since the very first time I stepped into the sandals it has been meaningful. It’s like that every night, I promise you. This is so much more than a standard theatrical show; it is truly a spiritual event for people who come to see it. I don’t mean to sound like I am preaching, because I’m not. People come and have a lovely evening of theater with their family and they walk away feeling better from what they have experienced. I can see that every night. I feel it every single night. ERS: Have you lost track of the performance tally? TN: I never did keep records. The only time records were kept was in the 90’s, it was planned as a 3 month tour but we ran for five years. I was told I performed over 2,000 times so certainly by now it's got to be close to 5,000. Certainly at this point I have performed the role enough where I know the material. ERS: You don’t need to rehearse much then? TN: [laughs] No. I just put the CD on and I remind myself, it’s wonderful. ERS: Under what circumstances would you decline the opportunity to reprise the role of Jesus? TN: If my voice stops working. The minute I feel I can’t deliver what is necessary, I am out of here. Quite frankly, I haven’t had the heart to say no when someone asks me if I want to reprise the role because I love it so much. It changed my life. To think about not doing this under the circumstances is insane. ERS: Society has changed since the Broadway debut of Jesus Christ Superstar; age aside, how have you changed and how has that changed what you bring to the performance today? TN: Since the 70’s when we first started, there is a tremendous amount of material that has been written on this subject, so every time I get the opportunity to relive this role I have a whole new resource of research from which I can pull new things to do, and each time I’ve done that, its been a completely different concept of how I relate to this. It has made a better person. I am much more aware and feel much better about what I’m doing and it also gives me a spiritual depth that grows with every time I get to do it. I feel better about this now than I did in the beginning. ERS: Have there been moments in your life when it was particularly difficult for you to step out of character – perhaps where you felt compelled to pull out the “but I’m Jesus” card? TN: [laughs] I must say I know exactly who I am. Yes, I get the pleasure of stepping into the role of Jesus theatrically, but you gotta understand I was born and raised in Texas. I’m a rock and roll drummer from Texas and I got lucky to be in this role. Anytime anybody tries to look across that barrier of looking at me, relating to me, as if I am the real deal, I immediately let them know [in a playful tone] ‘come on I’m a rock and roll actor, its just acting.’ ERS: I understand you have some devoted fans – that pregnant women have asked you to bless their unborn child – can you share some of your most memorable fan encounters? TN: That has been going on since the 70’s. The very time it happened was at the Universal Amphitheatre, in Los Angeles when we did the first tour of JCS. A lady came up, and I assumed she was joking, but she could not have been more serious. She was extremely pregnant, she had just seen the show, she was crying her eyes out from the passion of the moment and certainly she was influenced by her condition. When she blurted it out, everyone laughed and I realized by the look in her eye that she was serious. I just put my open hand on her belly, so that I could make her feel good. And I learned from that and it has happened sequentially ever since. People really come to see the show, a lot of people do, not everyone, to see the show as their spiritual outlet and they believe that there’s a spiritual connection. And I am not going to step on anyone’s religious beliefs. I do whatever I can to encourage whatever they choose to embrace. ERS: I am sure you are familiar with the popular acronym – WWJD – TN: Yes of course, I wrote that you know [laughing again]. The crew members of this show for years have made up t-shirts and various things that they can sell that say WWTD. They always try to keep me in my place. I have a wonderful group of people that travel with me and they acknowledge what they see and understand what I go through on a regular basis. I could not be more honored. ERS: When friends or family members ask you for advice or an opinion, do you ever think to yourself WWJD? TN: Of course. I am not judgmental. I do not pass my judgment on anyone for what they believe. This is a free country and you can say and do what you want so as long as you don’t hurt anyone I am right there with you. ERS: When JCS first made its debut there were some protests from religious organizations, who felt the play destroyed the country’s “religious fiber”- do the performances still draw protestors? TN: Yes, nothing like in the beginning. Literally when we first started people would try and stop us from going to work. As I made my way through the picket lines I would ask people if they had seen the show. And they had not. So I would invite them as my guests, tell them to watch the show and talk to me after and if they had an issue we could address it. Everyone who had the courage to come into the show walked away loving everything about it. That’s why it still works- its now perceived as more of a spiritual Sesame Street. People use it to teach lessons to their children. Jesus, where I grew up, was untouchable, unreachable to the people, but this project makes Jesus accessible. It focused on the man. It puts humanity into it and everyone can relate to the human side. You don’t have to believe in Christianity or any sort of organized religion to understand that if you commit yourself to your goals, that you’re a much better person. ERS: SDGLN caters to the LGBT community – TN: Thank you very much for that. ERS: And currently the LGBT community and several religious organizations are at opposite ends of the political battle over same-sex marriage in California. I will not ask WWJD – but I will ask – is there a relevant connection between issues in JCS and current LGBT political issues? TN: Define the word connection. Where I am coming from what I see embraced in this philosophy and have observed for all these years, the problem lies in the same place. And that’s mixing politics with personal beliefs. This country was built on the separation of church and state. Freedom of thought. Freedom of individuality, and the minute the church and/or the state gets involved with your personal life its horrible. It’s nobody business to dictate to anybody what they can or cannot do. It’s not a societal experience, it’s a personal experience. Anybody who wants to be with somebody, I don’t care who it is, to each his own. How can anybody presuppose that they can tell you who you can choose as your life partner? Nobody has that right. Absolutely nobody. I can’t tell you how much I hate it. It’s just pathetic. IF YOU GO: Jesus Christ Superstar, January 15 – 17, 2010, San Diego Civic Theatre, 3rd and B Street, downtown San Diego. Performances are scheduled to take place Friday at 8PM; Saturday at 2PM & 8PM and Sunday at 1PM & 6PM. Tickets on sale now - $20--$79.

FRESNOBEE7

Actor finds inspiration in 'Jesus Christ Superstar'

Posted at 12:00 AM on Sunday, Jan. 17, 2010

By Donald Munro / The Fresno Bee


You don't spend a lifetime playing the role of Jesus Christ thousands of times -- clear through to the climactic scene on the cross -- without some of that vaunted, well, goodness rubbing off on you.

That's what it seems like, at least, when you talk to Ted Neeley on the phone about "Jesus Christ Superstar." His voice is at least an 8 out of 10 on the gentle-as-a-lamb scale. His patience is industrial-strength as he endures two mixed-up interview connections. His love of the material is practically beatific as he describes the thrill of every performance as a new adventure.

He's found his bliss, and at age 66, he refuses to let it go.

"They just can't get rid of me," says the actor, composer and rock 'n' roll drummer.

Neeley has played the title role in the show, which returns Tuesday to the Saroyan Theatre for one performance, so many times that he's lost count. His name has been inextricably linked with "Jesus Christ Superstar" since 1973, when he starred in the movie version directed by Norman Jewison.

Performances of “Jesus Christ Superstar” are a spiritual experience for Neeley, he says, as he picks up on the energy from members of the audience who are powerfully moved.

A five-year national tour in the 1990s criss-crossed the country several times. This current tour started in 2006 and was meant to last three months, but it's still going strong. It just kept getting extended, he says. (He's taken a few breaks here and there.) He last performed in Fresno, at the Saroyan, in 2007.

"I just haven't figured out a way to say no," he says of his decision to keep playing the role. "It's been such an amazing part of my life. I'm holding on to it like a brand new Christmas toy."

Neeley is speaking from the place he spends most of his time: the road. (He has a home in Texas, but he doesn't spend much time there.) He hates to fly, but he loves his custom-designed bus -- complete with kitchen -- that carts him from one venue to the next. The 50-person contingent of cast and crew travel on three buses and trucks. On this day, he's traveling from Seattle to San Diego, and he's just stopped to pick up a Quizno's sandwich to eat while he watches the interstate glide by.

"It's such a great way to see the beauty of this country," he says. "I love to stop in little towns, chill a bit with the locals."

One thing that keeps the show fresh is that the rest of the cast -- mostly

The reporter can be reached at dmunro@fresnobee.com or (559) 441-6373. Read his blog at fresnobeehive.com/author/donald_munro.

Fresno Bee - 1/20/10

http://fresnobeehive.com/2010/01/theater_review_113.html

For more on Modesto area arts, visit www.twitter.com/lisamillegan or thehive.modbee.com/artsbeat.

Scene - 1/22/10

http://www.modbee.com/scene/story/1018143.html

Ted Neeley Superstar: Who else would you expect in show’s lead role?

Now, 36 years later, Neeley is still playing the role of Jesus as he arrives for a one-night-only visit of the national touring production of “Jesus Christ Superstar.”

At age 66, he seems just as surprised as anyone that he’s still in demand for the role.

“Back then, I would have never even known it was a possibility that I would still be doing this role in 2010,” said Neeley, by phone from a tour stop in Nanaimo, B.C.

“I wouldn’t have known it was a possibility that I’d even be breathing.”

Yet, if Neeley’s previous appearances in the show are any indication, he can still deliver a believable and inspiring performance. This is his fifth visit to Spokane; the most recent one was at the end of 2007.

Neeley’s history in the Jesus role goes back even further than 1973. In 1971, he was cast in the original Broadway production – as a leper – and also served as the understudy for the Jesus role.

That led to the role of Jesus in the Los Angeles production, which led director Norman Jewison to cast him in the movie version.

“I’ve had extremely good luck,” Neeley said. “I am so blessed.”

His first big theatrical break had already arrived a few years earlier, in 1969, when he was cast in the lead role of Claude in “Hair” in both New York and Los Angeles. Later, he sang the title role in “Tommy” in Los Angeles.

“I’m a rock ’n’ roll drummer from Texas!” said Neeley, who fronted a band called the Teddy Neeley Five in 1965. “I had no idea that theater and film would be in my future.”

Why was Neeley the go-to guy for rock musicals? He knew how to “scream the high notes,” he said.

He’s not surprised that Andrew Lloyd Webber’s “Jesus Christ Superstar” is still going strong after nearly 40 years.

“It’s based on the greatest story ever told,” said Neeley. “Tim Rice (the lyricist) was able to pull out the Biblical language and put it into language that everybody can understand.”

This tour is a minimalist version, not the lavish, Vegas-style production that Neeley has fronted in years past.

The show moves to a new city nearly every night. After Spokane, it heads to Missoula, Great Falls, Billings, Butte and Bozeman, all in the space of five nights.

“This is like a rock ’n’ roll one-night tour,” Neeley said. “It was like a test to see if a show like this can exist, to see if the crew can handle it.”

Have they passed the test?

“Well, it was planned as a three-month tour,” he said. “We’re now in our fourth year.”

Meanwhile, Neeley is grateful that he is still performing in a show that has moved so many people – including himself.

“It certainly has deepened my faith,” he said.

Rock opera 'Jesus Christ Superstar' comes to Great Falls Jan. 28

By JAKE SORICH • Tribune Staff Writer • January 22, 2010

What: "Jesus Christ Superstar"

Where: The Mansfield Theater in Great Falls

When: Jan. 28 at 7:30 p.m.

Tickets: $52 and $47. All seats are reserved. Tickets are available by calling 455-8514 or online at http://ticketing.greatfallsmt.net.

Actor reflects on role in “Jesus Christ Superstar"

By David Wise — Daily Staff Writer | Friday, February 5, 2010 1:02 AM CST

He may not move faster than a speeding bullet or leap tall buildings in a single bound.

But he can tirelessly talk up a lightning storm about a role he's been playing longer than any other living stage actor in recent history -- almost 40 years. And counting.

Not even that famed long-runner Yul Brynner spouted his "etceteras, etceteras, etceteras" in "The King and I" as long as Neeley has been getting crucified nightly.

The occasion, of course, is the actor's career-long stint playing the Man 

He's essayed the title role in virtually every medium extant, and, as some of his fans might confuse it, in real life -- witness their eagerness to interface with him both before and after performances, and Neeley's equal eagerness to comply (he makes a point of asking that we let people know he wants to meet and talk with them at some point in the evening, either before or after the performance).

There are a few key distinctions between man and Man, however -- like, Jesus was 33 when his mortal stay ended and Neeley just turned 66.

"With all due respect, I have to say that I have no idea how I've pulled it off. The voice should have been gone a long time ago. But it's stronger now than it's ever been," he insists in the very un-Jesus-like twang that instantly marks him as a Texan, not a Galilean.

And so what? "There's no doubt in my mind that's exactly who I am: a longhaired rock 'n' roll drummer from Texas who screams high notes and who got really, really lucky."

That luck, he says, shows no sign of waning. Nor does he want it to.

Genesis of a hit

In the beginning (1970), there was "Jesus Christ Superstar," the two-record album with music by Andrew Lloyd Webber and lyrics by Tim Rice. And it was good.

A year later (1971), there was "Jesus Christ Superstar," the glitzy Broadway stage rendition of the album. And it was, according to some of the critics, not so good. Two years after that (1973), there was "Jesus Christ Superstar," the big-budget Hollywood movie. And it was, well, um, different.

Now, 37 years after the movie, there is "Jesus Christ Superstar: The North American Farewell Tour." And, lo, it is still coaxing manna from heaven.

Chalk that up to the singularly potent casting coup of maintaining the Neeley connection that spans the decades.

And, until his death from leukemia five years ago, the late Carl Anderson had been on board over the decades, too, recreating his original role of Judas.

In fact, Anderson was scheduled to join the current tour until his illness took over, a setback that hit Neeley hard, but that had to be overcome.

"I had no idea at the time," recalls Neeley of his friend's condition. "All I could think is that it would be impossible for anybody to do that role. So we've been very fortunate to find performers in the years since who've been able to create their own vision while paying tribute to Carl through what they learned from him watching the film."

Ironically, the show that was once one of the most controversial pop culture phenomena of its era -- accused of everything from outright blasphemy to anti-Semitism -- has evolved into a family-values event up there with "Annie."

If the presentation has grown leaner and less glitzy over the decades, the substance remains unchanged: It's set during the final seven days of Christ's life and presented through the eyes of his anguished disciples and eventual betrayer, Judas. The bulk of the spectacle is centered on the attempts to turn Jesus into a media celebrity against his will.

Stage to screen

Following the success of the 1970 album, which spun off three hit singles, the Broadway edition debuted with Ben Vereen as Judas and Jeff Fenholt as Jesus. Neeley signed on as Fenholt's understudy, while Anderson became Judas after Vereen bowed out with throat problems.

Within a year, Neeley and Anderson were leading the Los Angeles production and pretty much cementing the roles as their own -- witness their quick casting in the movie version over several seemingly more likely candidates. Shot on location in Israel, the film alienated some audiences with several unorthodox stylistic devices: the cast members were introduced as movie actors arriving on location via bus; the time frame thrown out of synch as tanks and jets could be seen amassing in the background during the climax.

"That was certainly Norman's (director Norman Jewison) idea, and it almost demanded to be done," Neeley recalls "There we were in Israel, surrounded by real tanks and jets, bombing and attacking the borders. If we didn't see it on screen, we would have been lying about what was going on. I still feel Norman's decision was absolutely well-chosen."

Ask Neeley if he's kept a scorecard on how many times he's been crucified in front of an audience, and he seems genuinely mystified by the seemingly infinite possibilities.

"I do know that my late friend Carl and I did over 2,000 performances on the '90s tour alone," he says. "So you'd have to add a lot to that total from both before and after."

Wouldn't it look good to see it with the Guinness Book of World Records seal of approval?

"I honestly don't know," he says. "It's something that if I did keep count, and see it in print, it would probably just frighten me."

At a glance

What: National tour of "Jesus Christ Superstar" starring Ted Neeley

When: 7:30 p.m. Monday

Where: Illinois State University Braden Auditorium

Tickets: $29.50 to $44

Box office: 309-438-5444

Ted Neeley's near-40-year run playing the same character may or may not be a record for a stage or film actor. He says he honestly "doesn't know." For comparison's sake, here are some other famously long-running thespian relationships:

Marathoners

53. Helen Wagner: According to the Guinness Book of World Records, the long-running matriarch of TV's soap, "As the World Turns," has scored Earth's most steadfast thespian feat. Wagner, now 91, has played the same character, Nancy Hughes, since the series signed on in 1956 (she's followed by fellow cast members Eileen Fulton, 40 years, and Don Hastings, 39 years).

38. Fred Rogers: The genial, cardigan-clad host of PBS' "Mister Rogers' Neighborhood" created the character for Canadian TV in 1963, then emigrated stateside where he came into his own in 1968 via the series several generations of kids came to know and love. It continued through 2001.

36. Yul Brynner: Before Neeley's J.C., the bald-pate actor held the stage record, as the regal half of "The King and I," a role he created on Broadway in 1951 and held onto for decades, including a short-lived '70s sitcom and an '80s Broadway revival that continued just months before his death in 1985.

33. Carl Anderson: Had he lived, Neeley's "Jesus Christ Superstar" comrade would be tied at near-40 years. But the actor who originated the role of Judas in 1971 and continued to play it on stage and screen through 2003 was felled by leukemia in 2004.

32. Basil Rathbone: The movies' most famous portrayer of Sherlock Holmes first donned the deerstalker cap in 1939's "Hound of the Baskervilles," then found himself portraying the world's greatest detective for the rest of his career -- in 14 films, countless radio shows, a disastrous stage edition and TV sketches. He ended the association, somewhat sadly, spoofing Holmes in a series of early-'60s ads for Getz Exterminators ("Getz gets 'em!").

28. Pee-wee Herman (aka Paul Reubens): Amazing but true, the pasty-faced man-child has been at it since 1982, when Reubens parlayed his parody of a TV kiddie show host into a live stage show, which then became a hit HBO special and, in 1986, a bona fide TV kiddie show. Two movies followed. Reubens' arrest on a morals charge in 1991 ended Pee-wee's re ign, until the past year, when he returned in a new stage rendition.

27. Harrison Ford: Eclipsing his three turns as Han Solo in the "Star Wars" series is the actor's turns as whip-cracking archaeologist/adventurer Indiana Jones in a quartet of Steven Spielberg-directed hits that convened in 1981 and continued to 2008. Rumors of a fifth time round are circulating.

25. Rex Harrison: The droll British actor had been a stage screen star for years before he took Broadway by storm in 1956 as the original Henry Higgins in "My Fair Lady," followed by the 1964 screen version. He continued growing accustomed to her face all the way through the 1981 Broadway revival.

21. Sean Connery: The movies' first and best James Bond took 007 through the '60s and into the early '70s before calling it quits, supposedly for good. But never say never ... as his 1983 return to the role, "Never Say Never Again," proved.

-- Dan Craft

1 Comment

Stats | Close Commenting

Page: 1 of 1

1.  

   

   RGB said on: February 4, 2010, 12:29 pm

   " 'Superstar' actor crucified on stage for 40 years"
   
   OMG somebody get him down already!

SAME ARTICLE REPOSTED AS:

ChicagoTribune.com - 2/7/10

http://www.chicagotribune.com/news/chi-ap-il-four-decaderole,0,4632496.story

ILLINOIS SPOTLIGHT: Actor nears 40 years in role

By DAN CRAFT The (Bloomington) Pantagraph

3:01 a.m. CST, February 7, 2010

NORMAL, Ill. - Meet Ted Neeley, Superman.

He may not move faster than a speeding bullet or leap tall buildings in a single bound.

But he can tirelessly talk up a lightning storm about a role he's been playing longer than any other living stage actor in recent history -- almost 40 years. And counting.

Not even that famed long-runner Yul Brynner spouted his "etceteras, etceteras, etceteras" in "The King and I" as long as Neeley has been getting crucified nightly.

The occasion, of course, is the actor's career-long stint playing the Man from Galilee in the first and most enduring rock opera of them all, "Jesus Christ Superstar," coming to Illinois State University's Braden Auditorium at 7:30 p.m. Monday.

He's essayed the title role in virtually every medium extant, and, as some of his fans might confuse it, in real life -- witness their eagerness to interface with him both before and after performances, and Neeley's equal eagerness to comply (he makes a point of asking that we let people know he wants to meet and talk with them at some point in the evening, either before or after the performance).

There are a few key distinctions between man and Man, however -- like, Jesus was 33 when his mortal stay ended and Neeley just turned 66.

"With all due respect, I have to say that I have no idea how I've pulled it off. The voice should have been gone a long time ago. But it's stronger now than it's ever been," he insists in the very un-Jesus-like twang that instantly marks him as a Texan, not a Galilean.

And so what? "There's no doubt in my mind that's exactly who I am: a longhaired rock 'n' roll drummer from Texas who screams high notes and who got really, really lucky."

That luck, he says, shows no sign of waning. Nor does he want it to.

In the beginning (1970), there was "Jesus Christ Superstar," the two-record album with music by Andrew Lloyd Webber and lyrics by Tim Rice. And it was good.

A year later (1971), there was "Jesus Christ Superstar," the glitzy Broadway stage rendition of the album. And it was, according to some of the critics, not so good. Two years after that (1973), there was "Jesus Christ Superstar," the big-budget Hollywood movie. And it was, well, um, different.

Now, 37 years after the movie, there is "Jesus Christ Superstar: The North American Farewell Tour." And, lo, it is still coaxing manna from heaven.

Chalk that up to the singularly potent casting coup of maintaining the Neeley connection that spans the decades.

And, until his death from leukemia five years ago, the late Carl Anderson had been on board over the decades, too, recreating his original role of Judas.

In fact, Anderson was scheduled to join the current tour until his illness took over, a setback that hit Neeley hard, but that had to be overcome.

"I had no idea at the time," recalls Neeley of his friend's condition. "All I could think is that it would be impossible for anybody to do that role. So we've been very fortunate to find performers in the years since who've been able to create their own vision while paying tribute to Carl through what they learned from him watching the film."

Ironically, the show that was once one of the most controversial pop culture phenomena of its era -- accused of everything from outright blasphemy to anti-Semitism -- has evolved into a family-values event up there with "Annie."

If the presentation has grow leaner and less glitzy over the decades, the substance remains unchanged: It's set during the final seven days of Christ's life and presented through the eyes of his anguished disciples and eventual betrayer, Judas. The bulk of the spectacle is centered on the attempts to turn Jesus into a media celebrity against his will.

Following the success of the 1970 album, which spun off three hit singles, the Broadway edition debuted with Ben Vereen as Judas and Jeff Fenholt as Jesus. Neeley signed on as Fenholt's understudy, while Anderson became Judas after Vereen bowed out with throat problems.

Within a year, Neeley and Anderson were leading the Los Angeles production and pretty much cementing the roles as their own -- witness their quick casting in the movie version over several seemingly more likely candidates. Shot on location in Israel, the film alienated some audiences with several unorthodox stylistic devices: the cast members were introduced as movie actors arriving on location via bus; the time frame thrown out of synch as tanks and jets could be seen amassing in the background during the climax.

"That was certainly Norman's (director Norman Jewison) idea, and it almost demanded to be done," Neeley recalls "There we were in Israel, surrounded by real tanks and jets, bombing and attacking the borders. If we didn't see it on screen, we would have been lying about what was going on. I still feel Norman's decision was absolutely well-chosen."

Ask Neeley if he's kept a scorecard on how many times he's been crucified in front of an audience, and he seems genuinely mystified by the seemingly infinite possibilities.

"I do know that my late friend Carl and I did over 2,000 performances on the '90s tour alone," he says. "So you'd have to add a lot to that total from both before and after."

Wouldn't it look good to see it with the Guinness Book of World Records seal of approval?

"I honestly don't know," he says. "It's something that if I did keep count, and see it in print, it would probably just frighten me."

 

He’s back.

Ted Neeley will return to the IU Auditorium stage in the show and role he is most known for.

“Jesus Christ Superstar,” Andrew Lloyd Webber’s award-winning musical detailing the final days of Jesus’ life will begin its two-day run today at 8 p.m. Tickets for students start at $19 and are still available on the auditorium’s Web site.

Maria Talbert, events manager at the auditorium, said the show would be portrayed in its traditional sense, as opposed to a 1990s updated performance. The show, since debuting in 1971, has entertained audiences all over the world and garnered a collection of awards. This includes Tony Award nominations, despite initial apprehensions for its original run and revival.

“It’s one of Lloyd Webber’s and Rice’s first collaborations,” Talbert said. “When they pitched the story, and they were just in their 20s, people didn’t think it would take off and that people would like it.”

Talbert said Neeley last performed at IU in the mid 1990s, and his return to the stage here should be memorable.

“It’s always wonderful when we have those stars and celebrities that come along with the show,” Talbert said. “We have all these incredible productions that come to our stage, but then when we have those people who are really known for a particular role or known across the globe for their talent, it just makes it that much more exciting.”

The musical provided a better understanding of the show’s content and place in history, Neeley said in a recent interview published in The Flint Journal.

“The simplicity of the message is right there,” he said. “Sometimes people have problems understanding it from the pulpit. Somehow, this piece has made it more understandable.”



Indiana Daily Student - 2/11/10

http://www.idsnews.com/news/story.aspx?id=73657&search=Ted neeley&section=search

Ted Neeley performs as Jesus in the musical Jesus Christ Superstar Wednesday at the IU auditorium. The last performance will be 
tonight at 8.

By Bennett Fuson | IDS

On Wednesday, the IU Auditorium hosted an audience ready to see Jesus rock.

“Jesus Christ Superstar” opened Wednesday to an appreciative crowd eager to escape the frigid weather outside.

The show, one of Andrew Lloyd Webber’s most famous productions, is a retelling of the final days of Jesus’ life – beginning with the preparation for his arrival in Jerusalem and ending with his Crucifixion.

Unlike classic Broadway musicals, the rock-opera features a heavy emphasis on rock instruments and includes no spoken dialogue.

The show debuted in the 1971 and has since garnered a great deal of awards and nominations, as well as a series of revivals and a 1973 film adaptation.

The film starred Ted Neeley as Jesus, a role he reprised for Wednesday’s performance.

Audience members came in anticipation of Neeley’s performance, including junior Krista Spore, who came with her boyfriend’s family.

“I think he’s doing a really good job,” Spore said. “He’s really caught the audience’s attention and has a strong personality.”

Neeley’s performance and appearance onstage contrasted with those of his costars, in no small part due to his age. Neeley, at 67, was noticeably older then his onstage counterparts – a difference that didn’t escape Bloomington North High School junior Sami Haddad.

“I don’t know how to put this politely, but Jesus is very old for a 33-year-old man,” Haddad said.

Haddad said he otherwise thoroughly enjoyed the show, especially John Twiford’s portrayal of the character Judas.

Twiford, a former contestant on the 8th season of “American Idol,” performing in his first musical theater role, said he hoped the audience would appreciate the telling of Jesus’ story as a rock performance, not simply as a musical.

“I think it’s just a killer rock and roll expose,” he said. “It isn’t necessarily religious, but it just kind of tells the story from a storyteller’s point-of-view, sort of this human point-of-view. I just think it’s so interesting to see the story of Jesus Christ and Judas told from that point of view.”

However, the show was not without its critics.

Bloomington resident David Skirvien left the auditorium expressing disappointment with the performance, particularly Neeley’s.

“The best singer was Judas,” he said. “Jesus was a terrible singer. I know it was Ted Neeley, the guy from the original production, but it’s the original production, like in the 70s. ”

Skirvien also said the show’s mixture of religion and pop culture might offend those who think the two should be kept separate – including himself. That point has been one of the show’s central controversies throughout its history.

“I don’t think you should mix religion and theater together,” Skirvien said. “I found that to be like pop exploitation of religion right there. And that is offensive to me, whether or not I believe in it or not, I don’t think that’s how religion should be interpreted – as rock and roll music.”

Expanding this argument to a more general one of “leave Jesus in church where he belongs” is simply spurious. Jesus has long been on stage in ways wholly approved by conservative Christians. Consider, for example, the mystery plays of medieval England, biblical cycles performed by roving bands of amateur actors during the Middle Ages and later, and passion plays. The most famous example of the last is the epic that has been performed in Oberammergau, Germany, once a decade since 1634. Add to these live events the myriad of films featuring Christ and the list of “approved” theatrical appearances by Jesus is endless. Perhaps the film most passionately embraced by the Religious Right in recent years is Mel Gibson’s 2004 sadomasochistic “The Passion of the Christ,” which is a veritable blood bath.

A second difficulty I have with the argument that Jesus doesn’t belong on stage stems from the theatrical element inherent in the religious practices of most churches. Looked at in stage terms, preachers perform much as actors do, robing (getting into costume), climbing into the pulpit (going on stage), and holding forth (performing). The most adept and elaborate of these church-theaters tend to be those occupied by the same conservative critics decrying stage Christs. Consider the megachurches, the traveling theater of tent revivals, and the elaborate staging that backs the most strident of the rightwing televangelists. Talk about theater!

Few topics — including the Bible and Jesus — are off limits as theatrical fodder, which is as it should be — and as it should pertain to all art forms. The arts are the expressions of culture. All viewpoints deserve expression, and that inevitably leads to controversy. Controvery ought not lead to suppression, however.

(The photo shows Jesus and John from a 1900 production of the Oberammergau Passion Play.)

‘Superstar’ proves on-stage shows surpass movies

By Lydia Williams

Opinions Editor

Publication Date: 02/15/2010

Although movie musicals like “Rent,” “Hairspray” and all seven sequels of “High School Musical” have become the norm of musical watching, there’s still nothing like viewing an on-stage, in-person production.

I’ve always had a soft spot for musicals – especially those by Andrew Lloyd Webber. So a few months ago when I heard that “Jesus Christ Superstar” was playing Feb. 12 in Elliott, I bought tickets immediately.

“Superstar” is one of my top two musicals I’ve seen in person, and this was my third time to see “Superstar.” Many who have never seen it might have the idea that it’s just a two-hour-long, rock-operatic overglorification of Christ, but it’s much more complex. Here’s a quick synopsis, to start:

“Jesus Christ Superstar” technically falls under the category of a “rock opera” musical: Everything is sung and the music has an edgier tone. The storyline encompasses the final seven days in the life of Jesus of Nazareth. We see Judas’ disenchantment with and Mary Magdalene’s love for Jesus. We also see the Last Supper and the high priests’ plotting against Christ, among other occurrences during the last week of JC’s life.

And, I’m fairly certain we all know how the rest of the story goes as far as plot is concerned.

My non-religious friends wonder how an agnostic realist like myself could love this musical. For me, what keeps “Superstar” from being a pious, boring re-enactment of a Bible story is the wicked-awesome musical numbers, the wailing rock ’n’ roll quality of the singers’ voices, and, most especially, the radically different depiction of Judas Iscariot, the traditionally hated villain of Jesus’ death story.

“Superstar” opens with a number called “Heaven on Their Minds,” sung by Judas, which I believe to be the best song of the entire show for several reasons. In my previous viewings of this musical, the tenor who has played Judas has had the best voice and has stolen the show from the guy who plays Jesus; this weekend’s show did not deviate from that pattern. Moreover, this particular portrayal of Judas proved to be the best I’ve ever seen.

John Twiford played the character, and he captured my attention immediately with his strong yet quietly assured voice (usually, tenors blast their voices because it’s easier to sing that way). Twiford’s pleasing, non-screaming tones made the message of the song clear: Although Judas has been JC’s right-hand man since the start, he is disappointed that the supposed divinity of Christ is getting in the way of doing good.

He becomes even more of a sympathetic character in a later song with Jesus and all the disciples in which he echoes his concerns for the poor and downtrodden; as a response, JC tells him to calm down and enjoy the day. This is all before Judas has decided to sell Jesus’ location to the high priests who want Jesus dead, so we see how Judas’ frustrations lead to his betrayal of Christ.

Of course, Judas, along with Pontius Pilate (who we also don’t strictly hate) and the angry mob that wants JC dead, all become the ultimate “bad guys.” What must be noted, though, is the feeling of sadness for all parties involved, and not only the crucified Jesus. It becomes more of a Greek tragedy than a Bible story.

At the end of the evening, the only major complaint I had with this rendition of “Superstar” was the performer who played Jesus: Ted Neeley. If you aren’t aware, Neeley played the title role in the 1973 movie version of “Jesus Christ Superstar.” He was born in 1943, so that means at age 30, he played the character of 33-year-old Jesus Christ quite well with his raw and wide-ranging voice.

But... That was 37 years ago. If I’m doing my math correctly, Neeley is now in is mid-60s, still playing a 33 year old. I get the whole “he’s a legend for this role” thing; I’ll also admit he still has a tortured-rocker quality to his voice.

His age, however, served as an inhibitor to the musical as a whole. Despite his still-raging pipes, Neeley is simply too old to be playing the role of the young, heroicized Jesus in “Superstar.” I couldn’t quite believe this guy was Jesus, and this kept the musical from capturing my imagination in a full way. Rather than being pulled into the story, I kept wondering why Neeley can’t let go of the role.

Plus, 66 years old or not, Neeley drew out the death of Jesus on the cross longer than any other performer I’ve seen. Every time I thought a long, labored death groan was his last, Neeley followed a few beats’ silence with another tortured “auuughhh.” By the time JC was dead, I was so consumed with stifling my giggles that the meaning of the ending was almost completely lost for me.

When applause time rolled around, I was ready to scream for Judas like I had witnessed a Beatles performance – and I did just that. The audience comprised mostly middle-aged, white, most-likely-Christian Hoosiers, so I loved it when my mom, sister and I shocked those who surrounded us by chanting, “Judas! Judas! Judas!”

All in all, “Jesus Christ Superstar” affected me like a good piece of art should: I wept at the beauty of some songs, I laughed at comic relief and I reflected that seeing such a show in-person is the only way to do it. Plus, I’ve been reminded that maybe we give Judas too hard a time. He did have to live in the shadow of a superstar, after all.

Lydia Williams is a senior in the College of Liberal Arts and may be reached at opinions@purdueexponent.org.

WLFI.com - 2/12/10

http://www.wlfi.com/dpp/news/local/Superstar-returns-with-its-star-

'Superstar' returns with its star

Jesus Chris Superstar opens at Elliott Hall Friday

Updated: Friday, 12 Feb 2010, 3:55 PM EST
Published : Friday, 12 Feb 2010, 12:29 PM EST

• Laura Kirtley

The musical follows the last seven days of Jesus's life. Actors tell the story through the lyrics of Tim Rice and melodies of Andrew Lloyd Webber. Neeley said the show is for all ages and the story is timeless.

"It doesn't matter what you do or do not believe in. You don't have to be a spiritual person, you don't have to have any connection with any sort of religion you can get an absolute evening of enjoyment out of this with your family if you come and see it," Neeley said.

For tickets, call (765) 494-3933.

JCOnline - 2/12/10

http://www.jconline.com/article/20100212/ENT/2120329

Neeley on 'Superstar' return: 'I'm getting better at it'

By TIM BROUK • tbrouk@jconline.com • February 12, 2010

The story never ends for Neeley of ‘Superstar’

Nearly 40 years after he began playing the title role of Jesus Christ Superstar, Ted Neeley is still excited every chance he gets to talk about it.

''It's a discovery every night,'' Neeley said of the iconic role. ''I have the opportunity of being part of this wonderful, spiritual experience every single night.''

The musical tour, featuring Neeley again as headliner, will make a one-night stop at 7 p.m. Tuesday at the University of Akron's E.J. Thomas Hall

The touring schedule can be grueling for Neeley, now 66. Last week, he closed one performance in Wichita, Kan., at 10:30 p.m., got on the bus at 1 a.m., arrived in Rolla, Mo., by 7:30 a.m., showered and started press interviews soon afterward.

''Right now I could rule the world. I'm so fired up because of being able to discuss this,'' said Neeley, who said he's able to forget his tiredness.

No actor/singer is more closely identified with the role of Jesus in the rock opera than Neeley, who was in the ensemble and understudied the role of Jesus when it opened on Broadway in 1971, later taking over the Broadway role and starring in the first national tour in 1972.

Many who haven't had the chance to see Neeley live onstage are fans of the 1973 movie, which starred Neeley and the late Carl Anderson. It was shot on location in Israel.

Neeley and the show have come a long way since the early days on Broadway, when the cast pushed through picket lines of people who deemed the show blasphemous. The Andrew Lloyd Webber/Tim Rice show follows the last seven days of Christ's life.

At the time, it was a radical idea for the show's creators to portray Jesus not only as a deity but also as a man who was an outspoken, rebellious, spiritual leader. The character's human emotions make Jesus' story more accessible to audiences, Neeley said.

''When we did the production in New York in '71, we had no idea it would ever make it past opening night because it was the first of its kind,'' Neeley said of the rock opera, which is completely sung-through.

Today, the show is embraced as ''a spiritual Sesame Street,'' its star said: ''People use the film to teach their children about spirituality.''

Jesus Christ Superstar, long dubbed the rock opera vision of ''the greatest story ever told,'' has had unique staying power. Twenty years after first playing the role, Neeley starred in the 1990s tour that ran from 1992 to 1997, co-starring Anderson as Judas. (Anderson also did the original tour with Neeley.) That second tour, planned to run just several months, was extended to five years.

The current tour, which began in fall 2006 was supposed to last through 2007 but has been extended through this year. Anderson was slated to do the current tour but died in 2004.

''This is the first time I've done a tour of this show without his involvement,'' Neeley said of Anderson, who played the ultimate ying to his yang for many years. ''We always depended on each other to make it work.

''I kinda get the feeling that maybe he's directing from on high. I can feel his spirit there onstage every night,'' Neeley said.

Now, Neeley has become a mentor to a continual influx of new, young cast members who bring fresh energy and a generations-old appreciation to Jesus Christ Superstar.

''I'm a rock-and-roll drummer from Texas who got really lucky,'' he said.

He grew up a Southern Baptist in Ranger, Texas, where church was a key social opportunity. Over his many years starring in Jesus Christ Superstar, his faith has grown.

''For me, all my childhood, Jesus was a stained glass window — unreachable, untouchable,'' Neeley said. ''This [rock opera] looks at Jesus as a friend.''

Each time he performs the role, Neeley said he's able to touch hearts in the audience. Every night, fans of all different faiths share with him how the show has changed and enriched their spiritual lives.

''I don't go to church on a regular basis, but in essence, I go to church every night,'' Neeley said. ''It has become, in essence, the true feeling of a musical ministry.''

The current tour, directed by Dallett Norris, was planned with a minimalist approach that focuses on dramatic lighting and strong characterizations. Creative teams have found over the years that audiences don't want the bells and whistles of glitzy stage sets.

''The simplicity of the story shows you a group of people who were in the desert 2,000 years ago,'' Neeley explained.

After reprising the vocally demanding role of Jesus thousands of times, is that trademark rock scream rough on Neeley's voice?

''I do nothing but talk during the daytime with interviews and sing at night,'' Neeley said. ''Technically, the voice probably should have been gone years ago. But thank God it still works, and I feel stronger now than I ever have, and it's because of the depth of that commitment of continually readdressing this piece.''

Arts writer Kerry Clawson may be reached at 330-996-3527 or kclawson@thebeaconjournal.com.

Details

• Rock opera: Jesus Christ Superstar

• When: 7 p.m. Tuesday

• Where: E.J. Thomas Hall, University of Akron, 198 Hill St., Akron

• Onstage: Starring Ted Neeley

• Offstage: Tim Rice, lyricist; Andrew Lloyd Weber, composer; Arlene Phillips, choreographer; Dallett Norris, director

• Cost: $32.50-$52.50

• Information: 330-972-7570 or 800-745-3000 or http://www.ticketmaster.com

By Joanne Beck jbeck@batavianews.com

"I'm enjoying it so much. The traveling and different hotel rooms each day ... the audience response is so positive, you sort of forget you were on a bus for six hours the night before," she said Thursday en route with the cast to Modesto, Calif. "It's actually really comfortable sleeping on the floor of the bus. We're at the hotel now. I'll go eat lunch, go to the gym and do the show tonight."

And that has been her life since the tour began in December. It has been the "highlight" of her theater jobs so far, she said.

"It's not much, but I feel like I have accomplished so much, and memories to last a lifetime," she said.

Bound for Cloud Nine

Hanlon is an East Bethany native and 2001 Alexander High School graduate. She has performed locally in Batavia Rotary and Batavia Players productions and obtained a degree in theater from each of Genesee Community and Geneseo State colleges.

After graduating from Geneseo in 2006, she worked for awhile at Downstairs Cabaret Theatre in Rochester before she took a job with The Gary Musick Company in Nashville, Tenn. The company offered her a chance to sail the world, and was "my first real paying performing job" on a world cruise ship, she said.

For the last several weeks, Hanlon has been floating on "cloud nine," she said. That happened right after she was picked out of hundreds of females for the Mary Magdalene role in "Jesus Christ Superstar."

The dark-haired, brown-eyed Hanlon is modest when describing her career-in-progress. That journey has taken her from a high school stage to singing in the widely acclaimed musical featuring Ted Neeley. It has taken the current cast from North Dakota to Canada and this week throughout southern California. It's a tour of more than 75 cities in several states across the country.

Her current role might seem like a stroke of good luck. Or a payoff for tenacity. After she learned that the show was holding auditions this past fall, Hanlon debated going. She was still performing in a Christmas show at Branson Variety Theatre in Missouri. She also figured there'd be hundreds of other women vying for a part. But something nudged her along.

She flew to New York City. She showed up to auditions around 9:30 a.m., which for many aspiring actresses was hours too late, she said. A casting helper was handing out blue pieces of paper for people to fill out. By the time he got to Hanlon toward the back of the line, there were no more pieces of paper. She was told she would not get an audition and might as well go home.

Yet for some "crazy" reason, something kept her there. She thought "if it's meant to be it will be." She stayed in case she'd get a chance to audition. She did.

Sara Hanlon appears backstage in costume for "Thoroughly Modern Millie," the Batavia Rotary Club's 2006 show.

Sarah Hanlon, second from left, appears in a scene from the Batavia Players Summer Youth Theatre production of "Hello, Dolly!" in August 2004. Also pictured is Tara Conroy, left, Jacqueline Siegel, second from right, and Jared Hoyt, left. (Mark Gutman/Daily News File Photo.)

Goerie.com - 2/18 - 20/10

http://www.goerie. com/apps/ pbcs.dll/ article?AID= /20100218/ ENTERTAINMENT020 1/302189940/ -1/entertainment 06

Rock opera at Luhrs for single performance

For more than four years, the touring company has been making its way from west coast to east to put on this contemporary interpretation of the last seven days in the life of Jesus Christ.

The cast of 27 is headed by Ted Neeley, internationally-known actor, composer, singer and record producer, who is recreating his role as Christ in this newest production.

Neeley started out in 1969 as an understudy to the actor who played Christ, assuming the title role in the film version of "Superstar," for which he received a Golden Globe Award nomination in 1974 for Best Motion Picture Actor in a Musical or Comedy. Then from 1992-1997, he reprised the role in a theater tour which criss-crossed the country multiple times, with Neeley performing the title role more than 2,000 times.

Jesus Christ Superstar was the first collaborative effort between the notable theater team Andrew Lloyd Webber and Tim Rice, famed for such productions as "Evita." In its original Broadway appearance, it garnered five Tony nominations.

The story line is well-known -- the last days in the life of Jesus of Nazareth, beginning with

"This play touches people's spiritual existence no matter if you have a religious affiliation or not," said Neeley, "it has something that touches everybody right in the heart. It shows Jesus through the eyes of his contemporaries and how their lives were influenced by him, looking at Jesus as a man without challenging his deity."

Neeley recounted, in an exclusive interview with Public Opinion, that when the show was on Broadway, people "perceived it as the ultimate blasphemy and I had to fight through picket lines to reach the theater." He asked several picketers if they had seen the show; most had not, and he invited them to come as his guests; those who did wound up loving the show.

"It is amazing how much people are affected by this piece," he added, "some people have even discovered their spiritual reality through either the movie or stage version. There is an energy emanating from the audience that is unstoppable," he continued. "It attracts people from every walk of life and they walk away feeling better."

Neeley, performing almost every night and traveling just about every day, also thrives on the shows' energy. "It keeps me fresh and alive."

Added director Dallett Norris, "Here we are, 21 centuries later, and it is oh, so clear: we need the message of this story now more than ever."

The Luhrs Center has become a major venue for many cultural productions. "Without it presenting these types of performances," said Jeffrey Sommers, director of marketing, "people would have to travel distances to see these types of shows."

When You Go

Jesus Christ Superstar

When: 7 p.m. Feb. 21

Where: H. Ric Luhrs Performing Arts Center, Shippensburg University

Cost: $28 to $49

Tickets: 477-7469 or http://www.luhrscenter.com.

Hudson's D.J. Bucciarelli is now on tour with the Broadway cast of "Jesus Christ Superstar."

D.J. is certainly elated for where he is today and where he plans to go in the future, but he is very humble about his time in Hudson and how life here prepared him for Broadway.

He fondly remembers his first singing lessons at Mulready Elementary School and his first acting class at JFK Middle School. Hudson High School, though, is where he really started to flourish, and received the push he needed from his teachers, who recognized his budding talents.

“I really got most involved in musical theater in High School,” said Bucciarelli. “I always knew I wanted to perform, but I didn’t really start to sing until I got into Skip Johnson’s chorus class my sophomore year. It was him who really encouraged me to join his Advanced Performance class, and that’s where I really started to get the acting bug. From there, I started taking voice lessons locally with Tambre Knox, who pushed me to consider myself as a singer, which was a new concept to me.”

The first role Bucciarelli ever had, ironically enough, was as Judas in Hudson High’s rendition of “Godspell.”

“It was the first time I was encouraged to feel something when I was on stage, you know, as opposed to standing center stage and belting. We were really pushed to tell the story, and not just do a plain old song and dance routine. … When I got to college, I felt like I was already ahead of the game because I had already explored that kind of character work in high school.”

The acting bug took D.J. straight to Syracuse University’s musical theater program, where he honed his skills and took that next step toward stardom.

While Bucciarelli has yet to join the everyday cast of the “JCS” tour, he knows he can learn much from those around him. For example, take Ted Neeley, the actor who originally portrayed Jesus in both the Broadway and film adaptation of “Jesus Christ Superstar.” Bucciarelli is quite aware of his acting expertise.

“I love working on this show, especially for the experience of working with [Neeley]. … I love watching him and the way he becomes Jesus, and how specific he is with his character choices,” said Bucciarelli. “My cast is [also] strong, and the people I am performing with have such incredible talents. I really feel that I am pushed to be a better performer every night that I am on stage with them.”

Though “JSC” has provided Bucciarelli with some resume material, he wants to explore as much of the acting world as possible to expand his horizons.

When asked what his next move is after the tour, Bucciarelli stated, “I don’t know. I guess ideally I would just like to continue this path of performing and being able to make a living while being an actor. I haven’t had to wait tables yet (knock on wood). I have a passion for working on new shows. I would love to sink my teeth into a new musical that is headed Off-Broadway.

“One day, I know in my heart that I want to call a Broadway show my home, but I would be content doing a great regional show any day,” he said. “In the meantime, I’m just auditioning as much as I can and thankful for whatever comes my way.”

Rightly so, Bucciarelli is also thankful for all the support he has received since his youth, which paved the way for him being part of something so special like the “JCS” tour.

“My friends and family are always so supportive. In fact, I have about 11 family members coming to see the Feb. 26 show at the Colonial Theater in Keene, NH. I’ve been very lucky to have a lot of positive influences in my life and some of my very best friends are still the same people who did shows with me in high school.

“I am very honored to be a part of such a wonderful cast, especially for my first Broadway tour. I feel blessed to have come from Hudson, where I had many more opportunities to study drama than I would have elsewhere. Without the amount of encouragement I had from teachers in the Hudson Public School system, I probably wouldn’t still be pursuing theater. They always made me feel like this dream I had was within my reach, and I’m so thankful for that.”

D.J. has been on the National Broadway Tour of “Jesus Christ Superstar” since December 26, 2009. The tour wraps up April 29 in Ontario, Canada. For more information about the show visit www.thejcstour.com.

Now, almost 40 years later, he continues to thrill audiences with his homage to Christ in the final seven days before his crucifixion, death and resurrection.

"I'm going to keep doing it until I get it right. He got it right the first time. These are outrageous shoes, or sandals, to step into. It is absolutely remarkable. I still don't believe that I have the pleasure of doing it."

If Christ walked into a theatre and watched Neeley, what would he think of Neeley's portrayal of him?

When Neeley is on stage and in this role, there is no question that he has connected with this character.

"I feel a spiritual presence; always a presence when I go on that stage."

His dear friend, Carl Anderson, who for years played next to Neeley in the role of Judas has passed away and yet Neeley says he feels his friend's spirit is with him every night on stage.

"This particular tour is the first time I've ever done this show without Carl's involvement because he and I always did the Judas and Jesus parts and in essence became the yin and the yang of this whole spiritual experience."

Night-after-night, year-after-year, Neeley has done the same show and yet it is somehow different for him every time. This is because of what the audience brings with them to the theatre, he says.

The longer he does this, the more opportunities he has to research Christ through the many books that have been written about him.

This helps him to deepen his commitment to the character and to the essence of Christ, he says.

This is far more than a show to Neeley. It is a calling which, he says, has changed his life and has changed the lives of many who have seen it.

Speaking of life-changing, Neeley met his wife, Leeyan Granger, on the set of Norman Jewison's film version of Jesus Christ Superstar.

"She was one of the dancers in the film. She grew up in the National Ballet of Canada in Toronto. She is a brilliant dancer."

Neeley remembers what it was like to make the film in Israel at that time. There was something very sacred about that time in the desert. He and the others there said they could feel the presence of Christ.

For his performance in the film, Neeley was nominated for Best Actor - Motion Picture Musical or Comedy at the 1974 Golden Globe Awards.

Neeley would love so much to go back in time and re-address this role with all of the life experience he's had. As one matures, so does the body and the voice. Neeley believes his voice is stronger than ever.

"I have a deep resonance that I didn't have before and it's easier now to hit the high notes than it was then."

This is a very physical role and the sight of Christ's body on the cross serves as a reminder of that every night he is on stage. Neeley works hard for this role. He has always taken care of his body and he continues to do so.

"I have never smoked. I am not a drinker. I am very careful about my diet. My wife is the closest thing to a dietitian that I've known.

"She cracks the whip for exercises. I am very active. I work out every day. I take vitamins and I get as much sleep as I possibly can. Nobody wants to see someone up on stage attempting to portray Jesus Christ (with) a big old beer belly."

It is important to Neeley that those who see this forget that they are watching an actor.

When people see this he hopes they will experience Christ. Every night he strives to experience this too. Because of this, he refuses to wear makeup. He will also not wear protective knee pads even though he spends much of his time on stage on his knees.

"I can't do anything that takes away from the truth and the reality of what I believe that Jesus went through."

Without Jesus Christ Superstar, Neeley's life would have turned out very differently indeed. He likely would not have met and married the love of his life or had his two children.

"She (Leeyann Granger) changed my life. Superstar introduced me to her. She has certainly improved the quality of my life because of the quality of hers and the class that she brought to a rock 'n' roll drummer from Texas."

When he is not on tour, he enjoys his time with his wife. They love fine dining and spending time at their homes in Texas, Carmel, California and Santa Barbara, where both of their children attend college.

"Since I am on the road a lot, they always come out and visit me when they are on spring break. In the summertime we spend as much time as we can being together at home."

Neeley has no idea how many times he has appeared as Jesus but it's easily in the tens of thousands.

Now, at age 66, Neeley says he would be happy to pass the mantle on to another who feels the call to take on this role.

He would love to train someone and give them the benefit of his experience but so far no one has stepped forward to take on this challenge.

Ironically Neeley had originally wanted the role of Judas in the Broadway production. He didn't want to tackle Jesus Christ because it was such a huge part and more than a little intimidating.

"I didn't want to jump into being Jesus because we have enough problems in this business having wonderful critics who come around and pass judgment.

"Do you want to jump into a role where every person in every seat is a critic as well? I thought, 'No I want to play Judas.'"

But the director saw something in Neeley and knew he was perfect for the title role.

That director was Tom O'Horgan, whom Neeley had worked with in both the New York and Los Angeles productions of Hair.

"I got into Hair completely by accident. I was playing drums with a rock 'n' roll band and I was dared by an actor to go audition for a show."

At this stage in his life, people are still accepting of him in this role which, he says, is remarkable in itself.

"I honestly feel better than I ever have in my life. The voice is stronger than ever and my commitment to what I am doing is more comfortable. I walk on that stage every night feeling like I could literally do anything I want within the confines of the character and it works.

"I am so truly blessed from somewhere, by someone, to have this opportunity."

Telegraph-Journal - 3/1/10

http://telegraphjournal.canadaeast.com/magazine/article/969014

"I love the process of being able to talk to people after the show," says Neeley from the road in New York. "And my, my, my, the wonderful stories that I have heard over the years about how this particular project - either the film, music or both - has influenced their lives in a positive manner. It's absolutely remarkable."

Neeley has more than 2,000 performances of traveling musical Superstar to his name. He'll log four more this week with shows in Fredericton and Saint John. The current incarnation of the popular rock musical, first staged on Broadway in 1971, began in 2006. It was only supposed to last through 2007, but audiences and critics kept it going.

"I don't want to stop either. It's remarkable. I wish you could be in my sandals just to see what it feels like.

We've been pretty much everywhere and certainly more than once, thank goodness. We're very fortunate for that."

With so many years and cities to his credit, meeting fans backstage has become a generational affair for Neeley. A few weeks ago, a family of long-time fans contacted Neeley saying they had a new family member for him to meet - a four-year-old great-granddaughter.

Dressed "just gorgeously, almost like a ballerina with little ruffle socks and 

"This sheepish, perfect little person stepped around her mommy as if to be completely prepared, and - now remember she's four years old - she said, 'Mr. Neeley your movie changed my life.' It's precious. It is absolutely precious. And these things happen constantly with this project."

Neeley attributes power of the production to the combined genius of Tim Rice, Andrew Lloyd Webber and Canadian director Norman Jewison to tap into the human element of the familiar passion tale.

"It doesn't challenge the deity. It accepts Jesus as the son of God, but it looks at him when he walked upon the earth as a man "¦ It gives the people who look at this movie a chance to relate to human beings and their own trials and tribulations."

Back when Neeley was first preparing the role the only reference he had for looking at the human side of Jesus was Nikos Kazantzakis' The Last Temptation of Christ. Now, he has a wealth of information he uses to play with the character, enriching his respect.

"I have learned so much in all of these years about the reality of Jesus Christ from all sides, because in my childhood Jesus was a stained-glass window. Always omnipresent, yet untouchable.

"It's even more incredible if you think in terms of a mere mortal reaching those heights of commitment. It's really a wonderful thing for people to at least consider the possibility of the human side of the man. Therefore, all of us can reach those same heights if we just commit ourselves to our belief system."

He credits his southern Christian upbringing in Texas for his reluctance to audition for the role of Jesus initially. He had auditioned for Judas.

"Not only did we have the normal theatre critics, but every single person in every seat in the theatre would be a critic, because they know their own version of who Jesus is. And I didn't want to take a chance on that."

As a performer the role of Jesus also has had an unquantifiable impact on Neeley.

"It has affected and influenced me in such a positive manner. It's made me respect the process a thousand-fold. It gives me confidence on the stage every night, that I just wish so much I could turn back the clock and relate to this piece again for the first time, because it is tremendously helpful."

Neeley attributes the strength of the piece itself in keeping him onstage. When he feels the energy of a full house and its "force of spirituality" it's sometimes as though his feet don't touch the ground.

He loves watching the cast perform too. The song Could We Start Again Please makes the hair on the back of his neck stand up.

But the part "that's without question an epiphany every single performance" is when he gets to sing in the garden of Gethsemane. And, no matter how many times he's raised up the cross in the finale, the crucifixion remains the toughest part. He wants to be respectful.

"It's one thing to spend the evening in the robe and sandals doing the essence of the last seven days in the life of the man called Jesus Christ "¦ It's a whole other thing when I'm up there in the moment representing that which is the visual essence of Christ for the whole world. I do it the best I can every single performance but it is quite frightening no matter when it's done."

Of course, with such serious subject matter onstage, the crew and cast keep things relaxed and jocular backstage. Especially since this tour is filled with one-nighters, people are running on light sleep and diet.

"Everyone's (backstage) doing all kinds of lovely things to keep us in line. The people backstage won't let me get away with anything. They are constantly reminding them that I merely am that rock 'n' roll drummer from Texas that screams high notes for a living.

"The headmaster of the crew refers to me as 'cheese and rice salad bar.' I can't get away with a thing, you see."

'Jesus Christ Superstar' takes the stage tonight and Tuesday at 7 p.m. at The Playhouse in Fredericton. Tickets, $65-$75, are available at the box office, 458-8344, www.theplayhouse.nb.ca. The show moves to Saint John's Imperial Theatre on Wednesday and Thursday at 7 p.m. Tickets, $67-$77, are available at the box office, 674-4100, www.imperialtheatre.nb.ca.

Times & Transcript - 3/2/10

http://timestranscript.canadaeast.com/search/article/970377

City never inquired about musical; Capitol Theatre too small a venue

Moncton will miss out on Jesus Christ Superstar, due to the absence of an adequately sized theatre venue and a lack of expressed interest from the city.

The well-known theatrical piece, which has been performed around the world for over 30 years and been adapted into a film, was performed at Fredericton's Playhouse last night and will run again tonight, before moving off to Saint John's Imperial Theatre for shows tomorrow and Thursday.

As much as it would have liked to play host to the popular production, it wasn't an option for Moncton's best-known theatre.

"It's a technical thing," said Marc Chouinard, general manger of the Capitol Theatre. "(In Saint John and Fredericton) their backstage is as big as their front stage and when you have a large musical you need to move sets around. You see musicals in Saint John and Fredericton all the time and never here; that's why."

Chouinard added that these types of productions often come with four or five trailers full of gear and equipment, which simply can't be handled at the theatre.

"The Capitol will never and that's got to be clear, never, be able to do that," he said. "You would have to redo it and (that would cost) millions. Impossible. When we get a new room in 20 years, it will be fine.

"Eventually, Moncton will grow; there will be a need for a bigger theatre and then I hope the ones in charge will build it accordingly."

One location that would have the size to host Jesus Christ Superstar, which tells the story of the final seven days in the life of Jesus of Nazareth, is the Moncton Coliseum. However, a city official said the production was never even on its radar.

"We were never talked on it, we were never approached on it, we didn't really have the option," said Shane Porter, City of Moncton's director of festivals and special events.

McKenna Kelly, a representative with the TroikaStar LLC, which is putting on the Jesus Christ Superstar tour, confirmed that the company never received any requests for information or any pitches to host the show from Moncton.

She added that with a show as popular as Jesus Christ Superstar, they don't typically have to reach out to cities and theatres when booking a tour; the localities typically make first contact with them to express a booking interest.

Kelly added that although they often perform in theatre venues, they also can perform in arena settings, depending on the specifications of the location.

Porter said the Coliseum has the ability to convert to theatre setups, if the logistics and finances make sense.

"Sometimes it becomes costly, it just depends on the production," he said.

"But we're open, we're always open. We'll take everything that wants to come, within reason. Had I known about it, we would have definitely been willing to discuss on it."

Meh.

1

Thumbs Up

Stephen Downes, Moncton on 02/03/10 10:03:28 PM AST

Published: Friday, March 5, 2010

By John Benson
Correspondent@News-Herald.com

Next year marks the 40th anniversary of the opening of Tim Rice and Andrew Lloyd Webber's classic rock opera "Jesus Christ Superstar."

While actor Ted Neeley was a chorus member and understudy in that show, he soon would have the lead as Jesus, and it would become a career-defining role.

The News-Herald talked to the 66-year-old performer recently about the latest touring production of "Jesus Christ Superstar," which plays two shows Saturday at PlayhouseSquare's State Theatre, as well as his iconic role and just how much longer we can expect to see Neeley hit the high notes on stage.

The News-Herald: It was reported a few years ago when you toured with "Jesus Christ Superstar" that it was actually your farewell tour. What happened?

Ted Neeley: I must tell you I never said that. There's a line in the show where Pontius Pilate asks Jesus something about being the son of God and the response is, "Your words, not mine." Somebody somewhere thought maybe since I was more than 33 years old that it would be the farewell tour, but I have to say I never faired any more well. I have no desire to stop. I have lots of singing to do.

So please forgive me for those comments that make me look like I'm trying to be Cher.

Your fans will be happy to hear the news that you'll be continuing on. Looking back nearly four decades, did you ever think you'd still be doing this so many years later?

No, I never thought it would go past opening night in New York City in 1971. And then when the film was shot, (director) Norman Jewison and I used to talk in length whether the movie will ever get off the cutting room floor. I certainly had no idea and had no expectation. So there is nobody who is more amazed than I about the fact that it still works and people will still accept me doing the role. It's remarkable.

Naturally, whenever anyone thinks of Ted Neeley, your role in "Jesus Christ Superstar" comes to mind. What's it like to have such a definitive resume credit?

I have to tell you it has given me a career. I've done many things. I had the great fortune of being in the original productions of all the four most successful rock operas — "Hair," "Sgt. Pepper," "Tommy" and this one. And all because I'm a rock 'n' roll drummer who can hit the high note. So I'm the most fortunate guy in the world, and I could not be happier doing any other role. This one has so much depth and what's remarkable quite frankly is in the last 10 years certainly there's so much more new material from which I can research and gain information because that information didn't exist in the '70s. The only publication I could find in the '70s that looked at Jesus Christ as a man was the novel "The Last Temptation of Christ." Now I can go online and find new material everyday. So it's pretty remarkable and it keeps the show fresh.

Speaking of keeping the show fresh, this current national tour of "Jesus Christ Superstar" is billed as being stripped-down. What does that mean?

People in general don't understand how involved Tim Rice and Andrew Lloyd Webber are with the projects they've done. For this particular production alone, Andrew completely re-arranged the orchestrations of the show.

It's the same songs but he added all of these new elements of music for us to use. Tim went in and re-addressed some of the lyrics. So from that point of view, yes it's different. And what we've learned all of these years is people in general who come to see this show have seen it many times. They know exactly what goes on and in some cases know the music better than we do. So they have an expectation, and they've let us know openly that they don't need bells and whistles and special effects. They want to see the simplicity of the desert 2,000 years ago, and they want to hear that magnificent music. So what we have now is a minimalistic approach to this piece that has not been done before.

Finally, how long will we continue to see Ted Neeley in the role of Jesus?

With all honesty, the best I can say is no longer than say another 2,000 years (laughs). I couldn't pass that one up. I honestly don't know.

If people are kind enough and generous enough to allow me the opportunity to do it, I'd be a fool to say no. I guess as long as I can hit the high notes, which blows me away. Technically the high notes should have been gone years ago. But they're stronger now than they ever have been.

Details

What: "Jesus Christ Superstar."

When: 5 and 9 p.m. Saturday.

Where: PlayhouseSquare's State Theatre, 1519 Euclid Ave., Cleveland.

Tickets: $10 to $65.50.

Info: 216-241-6000, 866-546-1353, or www.PlayhouseSquare.org.

By John Cleary •Correspondent • March 3, 2010, 3:15 pm

Neeley has a long association with the role. He was an understudy as Jesus in the original 1971 Broadway production and took the title role for the ensuing Los Angeles production. He starred, opposite Carl Anderson as Judas, in Jewison's 1974 film version of the musical. His performance earned him a Golden Globe nomination.

Neeley was involved in other ground-breaking rock musicals of the era. He played the lead part of Claude in the Los Angeles production of "Hair," and was the lead in the stage version of The Who's rock opera "Tommy."

A musician and composer, his band, The Teddy Neeley Five, 

by Michael Lello
Weekender Editor

When he auditioned for an early stage production of “Jesus Christ Superstar,” Ted Neeley just wanted to play Judas. Now known for his longtime title role in the popular musical and the “Superstar” film, playing Jesus was not something he was interested in whatsoever.

“We in this business have critics, and if you do that role, everyone sitting in the seats is a critic, because everyone knows Jesus,” said Neeley, who will star in “Superstar” for two shows on Sunday, March 14, at the Scranton Cultural Center.

But after singing Judas’ “Heaven On Their Minds” for Tim O’Horgan — whom Neeley worked with in “Hair” — the director had different plans for Neeley. O’Horgan got out of his seat, put his arm around Neeley and asked him to try out for the Jesus part. Due to his love for working with O’Horgan, Neeley complied and landed the role that has defined his career.

The “Superstar” phenomenon began with the 1970 rock opera album, featuring Deep Purple’s Ian Gillan as Jesus. Soon after, “Superstar,” adapted for the stage by the legendary Andrew Lloyd Webber and Tim Rice, made its Broadway debut.

However, it was when the film hit movie theaters in 1973 — with Neeley as Jesus — that “Superstar” truly became a part of American pop culture.

Speaking from a tour stop in Saint John, New Brunswick, Neeley said that after all these years he just wants to see if he can get the role right.

“I don’t know,” he said with a laugh when asked if he thinks he’s achieved it. “I sure hope so. And quite honestly, it’s almost impossible for me to say now. When people want to do (‘Superstar’) over and over again, it’s something that I’m always welcome to do.”

The positive reaction from theatergoers helps, too.

“If I may subscribe to one of the seven deadly sins, I would say I do take pride in it,” he said.

For Neeley, it’s a fine line between real life and the stage, one that could give some actors a God complex. He said he has been told that some children that have met him think they have met Jesus.

“I can’t speak from their point of view, but I can only speak from what I’ve been told,” he explained. “There are times when they actually speak of that. First, I thank them for their kind critique of what we just did. But then I remind them that I’m a rock ’n’ roll drummer from Texas that screams high notes for a living.

“I know exactly who I am,” he continued. “It’s a very thin sheet of ice between reality and what is imagined. It’s so much more than a show because of that spiritual connection.”

When Neeley first played Jesus, there were protests from religious people, which is to be expected when the story of Christ is told via rock music. Neeley said he was happy to speak with the protesters outside the theaters.

“I would ask them if they saw the show,” he said. “I would then invite them to come in and see the show as my guest and then talk to me afterward and tell me what was the problem. Not one person (that saw the show) took issue.”

Neeley credits the music for the show’s longevity. But he also notes the groundbreaking approach “Superstar” has taken in portraying Jesus as human.

“The concept is based on the last seven days of Jesus’ life as seen through the eyes of his contemporaries,” Neeley said. “People had a problem relating to Jesus as a man. Now, this piece does not integrate the fact that Jesus was the son of God. … When I was a child, I knew nothing about Jesus as man, and church was as common as having breakfast with your family. But nobody referred to Jesus as a man; he was a stained-glass window, always there yet unreachable.

“This (show) made me realize if we look at Jesus as a mere mortal, then we all can achieve anything.”

w

Times Tribune - 3/9/10

http://thetimes-tribune.com/arts-living/jesus-christ-superstar-returns-to-scranton-cultural-center-1.664364

'Jesus Christ Superstar' returns to Scranton Cultural Center

On Sunday, the touring production of the beloved Andrew Lloyd Webber-Tim Rice rock opera, "Jesus Christ Superstar," will return to Scranton Cultural Center at The Masonic Temple for two performances, at 3 and 7:30 p.m.

Tickets to the show, presented by Broadway Theatre League of NEPA, are $36 to $58 and available through the Cultural Center box office, by phone at 800-745-3000 and online at www.BroadwayScranton.com.

The musical last came to Scranton in 2007. Just as then, Jesus will be played by Ted Neeley, the actor who has been synonymous with the role since its Broadway Ted Neeley has played the title role in  'Jesus Christ   beginnings nearly 40 years ago.
Superstar' more than 3,000 times.          

"Jesus Christ Superstar" was the first creative venture between composer Andrew Lloyd Webber and lyricist Tim Rice, who later collaborated on the Broadway smash "Evita." The show opened on Broadway in 1971, and went on to receive five Tony nominations. Two years later, it was made into a film directed by Norman Jewison and starring Mr. Neeley.

Among its many notable numbers are "I Don't Know How To Love Him," "Everything's Alright," "What's the Buzz" and "Heaven on Their Mind."

The two-act musical revolves around the final week of Jesus' life, depicting his entry into Jerusalem, the stir caused by his preaching, his betrayal by Judas, his trial before Pontius Pilate and, finally, his crucifixion. What distinguishes it from other biblical fare are its rock riffs, everyday slang and other anachronistic touches.

The musical is also known for its sympathetic treatment of Judas, who is seen as a tragic character who grows weary of Jesus' popularity and deity claims, and believes his actions will doom the Jewish people at the hands of the Romans.

"It's so interesting being told from the perspective of Judas. It gives people a whole other way of looking at the thing," said John Twiford, who plays Judas in the current production. "I really want people to hear Judas' side. His was a much more logical side. All Judas saw was that someone, if not everyone, was going to get hurt. It's just an interesting perspective. To get people to sympathize with Judas is a real fun challenge."

The role is a daunting one for other reasons, not least because Judas, like Jesus, had for many years been associated with one actor, Carl Anderson, who died in 2004.

As if that weren't enough pressure, Mr. Twiford, a former "American Idol" contestant - he made it to the Top 50 last season - and frontman of the Los Angeles band The B.O.L.T., had never acted in a musical outside of one or two high school productions.

YouTube savvy

"I had heard of the show, but I didn't really know the show," said Mr. Twiford, who learned all of its songs by watching clips of the movie on YouTube.

"The music is great," he said. "I really get to do some wailing."

Mr. Neeley, meanwhile, has proven to be a terrific mentor.

"Ted Neeley is kind of like my second director. He knows the show up, down, forward, backward. He always has tips, and different ways of thinking about scenes and lines," Mr. Twiford said. "I'm still developing different things with the character. It's still an ongoing process."

But an enjoyable process nonetheless, so much so that Mr. Twiford is now considering moving to New York City to pursue musical theater full time.

"I've really taken to it," he said. "I really enjoy it."

Contact the writer: jmcauliffe@timesshamrock.com

If you go
What: "Jesus Christ Superstar," presented by Broadway Theatre League of NEPA
Where: Scranton Cultural Center at The Masonic Temple
When: Sunday, 3 and 7:30 p.m.
Details: Tickets are $36 to $58 and available through the Cultural Center box office, by phone at 800-745-3000 and online at www.BroadwayScranton.com.

WILKnewsradio.com - 3/9/10

http://audio.wilknewsradio.com/m/audio/29738064/ted-neeley-of-jesus-christ-superstar-talks-to-wilk.htm

http://audio.wilknewsradio.com/transcript/audio/29738064/ted-neeley-of-jesus-christ-superstar-talks-to-wilk.htm

This transcript was automatically generated with speech-to-text technology and may not be 100% accurate.

California Chronicle - 3/12/10

http://www.californiachronicle.com/articles/yb/142432237

Imagine trying to play Jesus 4,000 times

By Mary Therese Biebel, The Times Leader, Wilkes-Barre, Pa.

Mar. 12--When Ted Neeley auditioned for a role in "Jesus Christ Superstar," he hoped he'd be cast as the fascinating, tormented, known-forever-after-as-a-traitor Judas.

"I did the Judas song and (director) Tom O'Horgan -- I'd worked with him in 'Hair' -- jumped out of his seat and started walking toward the stage. He threw his arms around me and said, 'I'd like you to come back and sing the other guy.' "

Neeley has been singing "the other guy" ever since. He's lost count of how many times he has portrayed Jesus Christ in the Tim Rice/Andrew Lloyd Webber rock opera during the past four decades but estimates it's been at least 4,000 performances.

"It seems the audience prefers me in the white robes," Neeley said during a telephone interview as the touring show made its way closer to Scranton.

"Jesus Christ Superstar" will play at the Scranton Cultural Center at 3 and 7:30 p.m. Sunday, and Neeley admits he's more comfortable in the role now than he was at first.

"I have a very deep-set religious background," said Neeley, 66, who was raised in Texas as a Southern Baptist. "I was afraid to get near the role of Jesus. I didn't want to take on the enormous responsibility."

Nowadays he sees the role as "an honor" and "an avenue for spirituality."

"I see it every night in the faces of people," he said. "People have told me they find an epiphany (when they see a performance.) It does become almost miraculous in their eyes. But I don't want anybody in the world to think I'm Jesus.

"I'm a rock-'n'-roll drummer from Texas, and I can scream high notes."

Conceding his voice has deepened over the years to the point where he can sing even the notoriously low notes of High Priest Caiaphas, Neeley said he can still hit the high notes the role of Jesus requires.

"I've always been very careful," he said. "I never smoked. I'm not a drinker. I eat properly, and I have a wife that cracks the whip and makes sure I do that."

Describing his wife, Leeyan, as "a magnificent ballet dancer," Neeley said the couple met when 50 actors, dancers and singers flew to Israel to film the 1973 movie version of "Jesus Christ Superstar."

The movie, in which Neeley plays the title role, begins with the cast disembarking from a bus. That early scene emphasizes that "we are a troupe of performers and we pretend to be those (biblical) characters," Neeley said.

That may have been an important distinction for people who objected to the idea of Jesus, his band of apostles and the priests of the sanhedrin singing rock music.

When the show opened on Broadway in 1971, Neeley remembered, performers had to push their way through picket lines to reach the theater.

"I don't mean a couple people. They were stretched around the block," Neeley said.

"The most vehement response was about the title, putting 'Jesus Christ' and 'Superstar' together. Then there was the song Mary Magdalene sings, 'I Don't Know How to Love Him.' You can imagine where their minds were going," he said.

"And 'Jesus' was actually singing. He was singing with a rock-'n'-roll band. All of those were cause for people to object.

"I would ask them, 'Have you seen our show?' The answer, of course, was always 'No.' I would say, 'Would you please come in as my guest?' "Everyone who came in to see it would love it. They'd come back and bring their friends.' "

The show injects modern language and rhyming words into the story of the last seven days of Jesus' earthly life, which is based on the Gospel of John.

For example, at one point, Caiaphas and other characters ponder Jesus' popularity with the crowds and how the Roman occupiers won't like it: "What then to do about Jesus of Nazareth? Miracle wonder man, hero of fools.

"No riots, no army, no fighting, no slogans. One thing I'll say for him: Je sus is cool."

"What then to do about this Jesus-mania? How do we deal with a carpenter king? Where do we start with a man who is bigger, than John was when John did his baptism thing?"

That song reaches a chilling conclusion. "For the sake of the nation, this Jesus must die."

Compared with traditional biblical wording, Neeley said, modern language can make the story more accessible to modern audiences.

"Tim (Rice) jumped in there to the Book of John and simplified it, and then Andrew (Lloyd Webber) came in and gave us this wonderful music."

-----

To see more of The Times Leader, or to subscribe to the newspaper, go to http://www.timesleader.com.

Copyright (c) 2010, The Times Leader, Wilkes-Barre, Pa.

The Weekender - 3/16/10

http://www.theweekender.com/stage/Neeley_and_crew_deliver__lsquo_Superstar_rsquo__performance_REVIEW_03-16-2010.html

by Michael Lello
Weekender Editor

SCRANTON — The story of Jesus Christ has inspired selfless works by charitable people, holiday celebrations around the world and bloody murders by crusaders. To some people, the New Testament is the gospel truth. To others, it’s a compelling piece of literature.

“Jesus Christ Superstar” is the rare pop-culture occurrence that explores the humanity of Jesus, focusing less on his Messianic qualities than earthly aspects, like his self-doubt and his disciples’ greed and betrayal.

In the second of two shows in the Scranton Cultural Center’s Weinberg Theatre Sunday evening, Ted Neeley brilliantly portrayed Christ as a loving, flawed human, someone who saw the good in a prostitute but was troubled by the betrayal of two of his apostles and burdened by God’s plan for him. From his one-sided conversations with his father to the forceful, high notes he used to get his points across to his followers, Neeley, was, predictably, the star of the show. But that wasn’t without some standout performances by Benjamin Van Diepen as a conflicted Pontius Pilate, Sarah Hanlon as Mary Magdalene and comic relief by Andrew Hartley as a flamboyant King Herod.

With tight funk-rock strains played by the pit orchestra, the musical unfolded the familiar story without a stop in the action. From the jubilant “What’s The Buzz” to the haunting “This Jesus Must Die,” the songs were perfectly delivered and entertaining whether or not you’ve seen the theater production or the 1973 film.

With a simple set and few props, the focus was on the performances. The subtlety with which the ensemble cast reacted to Jesus was impeccable, and Neeley’s facial expressions and gestures were equally effective.

Standout scenes included Act I’s “The Temple,” in which the townspeople transform the holy site into a den of gambling, pimping and shady commerce; an angry Jesus casts them out, then has a dream that there are too many people for him to care for. Another emotional high point in Act I came thanks to John Twiford, who as Judas decides to take the high priests’ money to hand Jesus over to them. In Act II, a vulnerable Jesus ponders his future in the Garden of Gethsemane before Judas betrays him, and the hilarious Herod, surrounded by a gaggle of dancing girls, taunts Jesus, challenging him to walk across his swimming pool.

The Pilate character is well-developed — and arguably more resonant and three-dimensional than the biblical version of Pilate. During the “Trial by Pilate” scene, the Roman official regretfully sentences Jesus to crucifixion only after much imploring from the gallery. To Pilate, Jesus “has done no wrong.” “I need a crime,” he sings, calling the Jews hypocrites and noting that they hate him and the Roman government more than they hate Jesus. After soldiers whip Jesus 39 times, Pilate steps in and stops them. After giving him one last chance to defend himself, Pilate tells Jesus, “Die if you want to, you misguided martyr,” and washes his hands of the matter, figuratively and literally.

Neeley — who played the title role on Broadway and in the film — pulled off the crucifixion scene with tenderness, evoking pity from theatergoers as he took his final gasps. He ascended from the cross and out of view, suspended above the stage as a curtain emblazoned with the Christ shroud dropped. With Easter a few weeks away, the message was direct and powerful, but at that point it didn’t matter what religion — if any — you called your own.

w

Jesus Christ Really is a Superstar

We took Wednesday night off Charleston Fashion Week to go see Andrew Lloyd Webber & Tim Rice’s masterpiece Jesus Christ Superstar at the North Charleston Performing Arts Center.  There is one more performance tonight on the nationwide tour’s stop in the Holy City, and you should definitely clear your schedule for this show!

JCS, as we’ll refer to it from here on, was a true example of star talent and the amount that creative directors, costumers and choreography can do with a minimal set.  There was only one set for the entire performance, yet the cast managed to transport you in completely different places with excellent choreography, costumes, and minimal props.

The vocals were spot on, with a particularly gifted Mary Magdalene sung by Sarah Hanlon & Judas, American Idol contestant John Twiford.  Actually, Judas kind of stole the show…which is pretty ironic.  Twiford’s Judas was so good you started to sympathize with him, despite his betrayal and disloyalty.

Jesus of Nazareth was played by Ted Neeley, who starred in the 1973 movie version.  Age seems to be getting the edge on Ted; the songs weren’t quite what they were in past years, but he can still hit the screamers.

Favorite Scene: After expelling thieves, traders & pimps from”The Temple,” Jesus dreams of being surrounded by the poor, the ill, the needy, all imploring him to ease their woes, and overwhelming Christ the Man.  One giant piece of black fabric covers all the group, revealing only their faces.  The fabric undulates with their movement, as it grows into overpowering chaos; it was superb.

visit www.thejcstour.com for more info

Rate This

 

---

Possibly related posts: (automatically generated)

• “Jesus Christ Superstar” at Center for Performing Arts

Tags: jesus christ superstar

This entry was posted on March 18, 2010 at 10:22 pm

http://entertainment.fayobserver.com/Articles/2010/03/17/984190

Brought to you by The Fayetteville Observer

By Rodger Mullen

Nearly 40 years after Ted Neeley first played the title role in "Jesus Christ Superstar," the actor still meets people who relate to him as the character he's playing.

"I remind them that I'm a rock 'n' roll drummer from Texas who is really fortunate to be a part of this piece," Neeley said.

Neeley will reprise the role he first played in 1971 when the national tour of "Jesus Christ Superstar" comes to the Crown Theatre Friday at 8 p.m.

The musical, an early collaboration between Andrew Lloyd Webber and lyricist Tim Rice, takes a contemporary look at the last week of Jesus' life. Through songs such as "I Don't Know How to Love Him," "Heaven on Their Minds" and "Hosanna," the play examines Jesus' betrayal by the apostle Judas and his trial and crucifixion.

In the '70s, the play attracted no small amount of controversy. Some objected to setting the story of Jesus to rock and pop music. Others didn't like that characters such as Judas and Pontius Pilate were given sympathetic treatments.

Neeley, who is from Ranger, Texas, and got his start in music on the rock 'n' roll club scene, initially auditioned for the role of Judas but was convinced by the director that he'd make a better Jesus. After performing the role on stage, Neeley played it in a 1973 movie and has since stepped into the robe and sandals hundreds of times.

"The fact of the matter is I've done it enough that I should know the material fairly well," said Neeley in a telephone interview from Elmira, N.Y., where the show was on tour. "But I'm still working on it."

Neeley said he's aware every time he performs the play that audiences view it through a varied set of beliefs. He welcomes the opportunity to talk to people about their feelings on how the story is presented.

"The show usually starts around 8 p.m., ends around 10:30 p.m., and I'm there sometimes until 2 a.m. talking to people about their experience," Neeley said. "It's almost like a third act for me. If it doesn't happen, I don't feel like I did a good job."

These days, Neeley said, the play doesn't generate the kind of controversy it once did. He remembers having to force his way through protesters at a New York performance in the early '70s, and inviting them into the show so they could see it for themselves.

Neeley said he thinks much of the initial opposition to the play resulted from the writers' refusal to single out "bad guys" in the story.

"It looks at each character as a human being who is doing what they think is the right thing at the time," Neeley said. "One of the most passionate performances is from Pontius Pilate. You see what he was going through, trying to make a decision about what to do with this particular man."

Today, Neeley said, audiences are more likely to see the play as a "spiritual 'Sesame Street,' " a kind of primer to the story of the last days of Christ. He said a lot of parents bring their children to the show.

Neeley's favorite part of the show comes early in the second act, after the Last Supper, when Jesus goes to the garden of Gethsemane to pray. The hardest part to play, not surprisingly, is the crucifixion.

Neeley said he understands the play's effect on audiences. The actor said he also has gained some understanding of Jesus after playing him all these years.

"Growing up in Texas, Jesus was basically a stained glass window - omnipresent, but unreachable," Neeley said. "This puts you in the pew next to him. It's a much more accessible look at Jesus Christ, and that's what's made this piece stay around as long as it has."

'Jesus Christ Superstar'

When: Friday at 8 p.m.

Where: Crown Theatre

Tickets: $25-$41

Information: (800) 745-3000, 438-4100 or www.crowncoliseum.com

Ted Neeley talks about ‘Jesus Christ Superstar’ musical; dates upcoming at Riverside’s Fox

Tickets are on sale now; prices range from $22-to-$76 dollars each. The box office can be reached at 951-788-3944.

The Fox Performing Arts Center in Riverside is located at 3801 Mission Inn Avenue.

Click here for a list of local entertainment scheduled for the Fox; including Natalie Cole, Gladys Knight, and the musical ‘Annie.’

Click here to learn more about 4 shows which have been canceled at the Fox Performing Arts Center.

Filed under Video Library, News A1, Entertainment

Friday, January 29, 2010

http://blogs.pe.com/news/digest/2010/03/fox-theater-cuts-three-perform.html

Comment on this story

 

Santa Claus
"Fox theater cuts three performanc es of 'Jesus Christ Supersta.. ." http://bit.ly/crgvp8 On Santa Claus' 2010 List

Yesterday, 8:56:25 AM

via Twitter

Mike8
LOL, Can't say I didn't see it coming.

Yesterday, 2:03:53 AM

Riverside Austrian
The EDA is taking it!

Yesterday, 1:49:46 AM

Brock N. Glass
The surest way to fill up the $32 million dollar debt hole that is the Fox Theater is to hand out tickets and blankets to the homeless at the bus station. If the Fox is not selling tickets, it may as well be a homeless flop house for the winos and parolees who have no where to sleep. Taxpayers will gladly pony up the money for this because in Riverside, taxpayers haven't the slightest clue what their politicians are doing with tax revenue!

Yesterday, 1:42:13 AM

Mike
Something is seriously wrong with the entire Fox/City of Riverside deal. Who pays for the advertising? Who promotes the shows? Who sets the ticket prices? And I bet the consultant behind is all is paid at a flat rate, not based on tickets sold. The Riverside City Council needs to wake up and re-examine the Fox contract, top to bottom.

Yesterday, 12:22:49 AM

Liked by

Mike

Truth Speaker
So remember the city signed a 3 year contract with Nedlander. They get paid for bring acts cancellations or not. Riverside get stuck.  
 
Does this company truly know the city. Truly it does not.  
 
Does the city know what it is doing?  
 
Remember the next step they want to do is to build a new hotel so their can be empty rooms.

Yesterday, 12:14:40 AM

Abraham Varghese
Fox theater cuts three performanc es of 'Jesus Christ Superstar' http://bit.ly/dnaFeN

2 days ago, 11:59:21 PM

via Twitter

Damir Tankovic
Fox theater cuts three performanc es of 'Jesus Christ Superstar' http://bit.ly/dslIwl

Yesterday, 1:37:08 PM

via Twitter

ryan alanna
Fox theater cuts three performanc es of Jesus Christ Superstar PEcom ...: Three of the eight performanc es of the mus... http://bit.ly/dAIiSU

2 days ago, 10:52:59 PM

via Twitter

abby sebastian
Fox theater cuts three performanc es of Jesus Christ Superstar PEcom ...: Three of the eight performanc es of the mus... http://bit.ly/dAIiSU

2 days ago, 10:52:59 PM

via Twitter

Jim
I guess Jesus Christ is not the Superstar he was in the 70's.

2 days ago, 7:40:47 PM

River Blue
Gee, I guess the City better hurry up and get that third hotel built to handle all these people coming in to see all the sold out shows!  
 
Lets get the Fox up and running and get the Convention Center completed first!

2 days ago, 4:50:42 PM

Liked by

MJ

LOL
Also, I think that folks just don't want to go out on a school night. I hope this early change of schedule will help folks plan accordingly so there's no last minute show switching like with Annie. Looking forward to this show and Hairspray.

2 days ago, 4:47:03 PM

Riversider
I see this as an over saturation of the market for these performances of Annie and Jesus Christ Super Star – no way were they going to sell eight nights of these here. Additionally, these are less desirable shows than other musicals such as 42nd street, ragtime, or lion king - just to name a few. Bring in a big 'first run' show and you will sell more than five nights here in Riverside.

2 days ago, 4:25:26 PM

Liked by

MJ

PE.com
Fox Theater cuts three performances of 'Jesus Christ Superstar' : Three of the eight performances of the musical "J... http://bit.ly/dnWkEs

InlandSoCal - 3/25/10

http://www.inlandsocal.com/iguide/theater/content/news/stories/PE_News_Local_W_cpsuperstar26.27d75e0.html

Theater/Classical Music

Jesus Christ Superstar brings four decades of stage success to Riverside

04:44 PM PDT on Thursday, March 25, 2010

By FIELDING BUCK
The Press-Enterprise

Special Section: Fox Performing Arts Center

Ted Neeley likes to see little children come to watch "Jesus Christ Superstar."

"I don't know if you noticed it, but there were a bunch of children on the front row today," he said in a backstage interview. "People always come and bring their children. Little guys, 6-, 7-year-old kids."

Neeley has a long history with the 38-year-old show. He didn't create the title role, but he played it on Broadway and in the 1973 film version. And, at 66, he has spent recent years on the road with it.

Neeley said that in 1971, critics perceived the rock musical as the ultimate blasphemy.

"Here we are now, these many years later. We are perceived as spiritual 'Sesame Street.' Same songs, same message, same approach, and yet people now perceive it as a way to teach their children about their spirituality. Perception. It's magnificent to see the cycle."

Ted Neeley in the 1973 film version of "Jesus Christ Superstar."

Despite the change in culture, Neeley said the show itself is the same.

"This is as close to verbatim as we can possibly keep it, and that's because of me."

Neeley was speaking in his dressing room after a Sunday matinee at San Diego's Civic Theatre in January. It was the show's most recent Southern California stop before it opens April 1 at the Fox Performing Arts Center in Riverside.

He spoke softly in the subdued lighting of a room that was decorated with fresh flowers and featured a hint of aroma therapy. All these details belied his self-description as a rock 'n' roll drummer from Texas.

DO you at least sing?

Neeley's road to rock opera began, he said, in Ranger, Texas, 61 miles east of Abilene and with a population 2,584 in the 2000 census.

In his teens, he had a rock band that played local dances. After graduating high school, they drove to California with the idea of trying out show business before college.

Instead, the Teddy Neeley Five became a fixture in the LA club scene, not stars but well-known enough to meet people in TV and movies.

"Then we got invited to their homes, their Beverly Hills homes, to play for their parties," Neeley said. "Every variety show that was going on in the '60s, we were on because we were there playing for their parties. ... So our hometown folks were so proud of us. Every Sunday night they'd see us on some show."

Neeley's life changed when an actor challenged him to attend an audition for the West Coast version of "Hair" to see what it was like.

Joan Marcus / Special to The Press-Enterprise
Ted Neeley says "Jesus Christ Superstar" made the title character human to audiences in 1971.

"He goes up on stage, he sings a song, he comes back and we leave. We start to walk out of the building. And then they call my number. And he went, 'Wait a minute. You're going to go up there and see what this feels like.'

"I went up. I stood there. I'd never been in this process before. A voice in the darkness said, 'And what have you prepared for us today, sir?' And I said, 'Nothing. I don't know what to do. I've never done this before.'

"The voice said, 'Well, do you at least sing?' I said, 'Yes, I do.' "

He performed "For Once in My Life" twice for the voice. The number was in his band's repertoire in both the Stevie Wonder rock version and the Tony Bennett ballad version.

He was hired by the voice, which belonged to the late Tom O'Horgan, "Hair" director and the man who guided the hippie musical through its wild, improvisational evolution.

Neeley followed O'Horgan into "Jesus Christ Superstar" and, although he wanted the role of Judas "so bad I could taste it," he became an understudy for the role of Jesus, eventually playing opposite Ben Vereen and Carl Anderson.

"Jesus Christ Superstar," written by Andrew Lloyd Webber and Tim Rice, began as a "concept album," two LPs in a then-deluxe gatefold jacket that related the passion of Christ in a song cycle.

It spawned a hit song, "I Don't Know How to Love Him," sung by Mary Magdalene, that Neeley said was a source of outrage among some listeners.

"Boy, did they read between the lines and put these things in there that had nothing whatsoever to do with the song."

fighting through waves of pickets

Despite the myriad changes in American culture, Ted Neeley says the show "Jesus Christ 
Superstar" has not changed over the years.

That, and the concept of Jesus singing with a rock band, created a show "so controversial that we had to fight our way through picket lines to get into the theater to go to work. And this was in New York City, mind you. And not a couple of guys. It stretched completely around the block of 51st and Broadway. Trying to stop us from getting in the building."

During this period, he got to know pre-knighthood Rice and Webber before they were famous.

"To see the two of them as innocent children in New York with that expression continually on their faces of 'Oh my goodness, somebody is actually putting our show up! A real show!' "

Neeley said he was still a greenhorn as well when director Norman Jewison began preparing the film version of "Superstar." But he knew enough to lobby hard to be cast in it.

He had moved on to an LA stage version of The Who's "Tommy" by then.

"I couldn't get out of rehearsals to go to an audition, so ... I called the Directors Guild and said, 'Does he have an agent?' They put me in touch, and I invited Mr. Jewison to come and see our show of 'Tommy.'

"He came on a Saturday evening. We had played a matinee, during which I was knocked out cold on stage and advised by the company doctor not to go on for the evening performance. ... He came to see the show and he saw my understudy do the role. I didn't find out until the next day that Mr. Jewison was there."

Neeley was able to persuade the agent to set up a meeting with Jewison and offered to pay for the cost of a screen test.

"He fell out of his chair laughing at me. He says, 'You have any idea what it costs for a screen test?' I had no idea. I hadn't a clue."

That ice-breaker, however, not only led to a screen test, it led to Jewison testing and casting Neeley's friend Carl Anderson as well.

Neeley met his wife, Leeyan Granger, on "Superstar's" location shoot in the Negev desert. She was a dancer in the cast.

And his friendship with Anderson led to his return to "Superstar" later in life after they agreed to do a reunion benefit.

Neeley said that "Superstar" continues to thrill him.

"I walk on that stage, stage right, before I make the first entrance, and when the guitar plays the first notes of the score, it's almost as if they plug an electrical socket in my spine.

Could we start again?

"The overture alone is enough to build excitement. Of course, as the piece goes on, still to this day I can't get through 'Could We Start Again, Please,' that beautiful ballad that the whole choir sings in the second act, without tearing up."

Neeley said Rice and Webber remain involved in the show and have contributed some tweaks.

"Tim even got into changing some lyrics, which by golly we got in some arguments over because I think those original lyrics are brilliant. But he wanted to update certain elements that he'd gotten flak for over the years."

Neeley is still stripped and raised on a cross in the climax, and he still has the rock-star scream.

"It should have been gone years ago, but by golly it still works. I have so many dear friends who screamed much better than I do, and it's gone. It's just gone. I have no idea -- well, I've never been a smoker. I'm not a drinker. I take care of myself because I know this is my job."

He said touring in "Superstar" is more than a job to him. It's maintaining a connection with people who love the piece as much as he does.

"There's a relationship. Everywhere we go, we're welcomed back. I believe honestly, and this is just my opinion, this is like no other show. This is more than a show.

"It's an experience for people. It's a spiritual awakening for some people. For some people, it's just a chance to get away from the house for a couple of hours and smile. For other people, it's a chance to show their friends what their youth was about. There's so many touchstones that make people have a personal response. Therefore it keeps it alive."

Reach Fielding Buck at 951-368-9551 or fbuck@PE.com

Comment on this story

InlandSoCal - 3/25/10

http://www.inlandsocal.com/iguide/theater/content/news/stories/PE_News_Local_W_cpsuperstar26.27d75e0.html

Theater/Classical Music

Excerpts of an interview with Ted Neeley

10:04 PM PDT on Thursday, March 25, 2010

By FIELDING BUCK
The Press-Enterprise

Ted Neeley may be one of "Jesus Christ Superstar's" biggest disciples.

He didn't create the lead role, but he performed it on Broadway in its original, 1971 run and starred in the 1973 film version by Norman Jewison.

And he has been on tour with the show for years. He says he is responsible for preserving the original vision of its creators, songwriters Tim Rice and Andrew Lloyd Webber and director Tom O'Horgan.

Neeley treasures the memory of the late O'Horgan, with whom he worked on other rock musicals: "Hair" and "Sgt. Pepper's Lonely Hearts Club Band on the Road."

Neeley also starred as "Tommy" in a 1970s stage version of The Who's rock opera.

Neeley talked about his career in a backstage interview in January, after a "Superstar" matinee in San Diego.

On growing up in Ranger, Texas:

"I grew up in Texas, a tiny town in Texas, surrounded by churches, the heart of the Bible Belt in this country. And I was always going to church. When you grow up in a town that small, it's just part of your existence. You go to church on Sunday just like you have breakfast with your family throughout the week. ...

"Well, I learned, through all those many years, that Jesus was a strained-glass window. This piece ("Jesus Christ Superstar") pulled him off the stained-glass window, put him back on the street with his friends. So the human element is what makes this piece work. ...

"When you're in a town that small, everybody knows everybody. And the fact that I actually moved from the town into another place was a success, regardless whether I was working or not. ... And then the fact that the band was successful -- and my band was together all through school; we played for all the local dances -- they kind of had a thought that I might pursue something outrageous."

On getting started in show business in the 1960s:

"It was my desire from childhood to just play drums and bash away and scream. (I) worked my way from Texas with the band out to California right after we got out of high school. The idea was it was a summer thing and we'd go back to college in the fall. We fortunately were very successful and we just stayed and kept working. ...

"As a band, we never had any hit records, but we played in the Los Angeles area long enough that we became sort of a force ... playing all the clubs here. Suddenly there were all those movie people and television people, interesting people coming to see us. Then we got invited to their homes, their Beverly Hills homes, to play for their parties. ... "

On auditioning for "Hair," his first musical, and "Jesus Christ Superstar":

"Long story getting even longer, the band went through various changes and we were in Los Angeles working in a nightclub. And I was talking to people after the show. I love to do that. ... We were talking one night about the difficulty in staying employed on a continuous basis, whether it was for us as traveling musicians or they as film people. One of the actors said, 'I have an audition tomorrow for a show. Why don't you just come and see what I have to go through just to get a job?'

"So I went with him, just to watch. Hundreds of people outside of the building. He said, 'You're going to have to follow me and do exactly what I do or they won't let you in.'

"So I did. Biographical information, likes/dislikes, what do you do, all that. They gave us a number and we go inside. And they call his number ahead of me. He goes up on stage, he sings a song, he comes back and we leave. We start to walk out of the building. And then they call my number. And he went, 'Wait a minute. You're going to go up there and see what this feels like.'

"I went up. I stood there. I'd never been in this process before. A voice in the darkness said, 'And what have you prepared for us today, sir?' And I said, 'Nothing. I don't know what to do. I've never done this before.' The voice said, 'Well, do you at least sing?' I said, 'Yes, I do.' ...

"Long story sort, the actor didn't get hired and I did. The show was 'Hair.' I was in 'Hair' for three years. That voice in the darkness that said, 'Do you at least sing?' was the magnificent director Tom O'Horgan, who co-created 'Hair' with Jerome Ragni and James Rado and Galt McDermott. He also was the director of 'Jesus Christ Superstar' on Broadway. Asked me to join the cast."

On Tom O'Horgan:

"He was the most magnificent combination of simplicity and ... Frederico Fellini in the live theater. He had this visionary thing about him. Everything was phantasmagorical and larger than life. He made this happen on the Broadway stage like nothing else had ever happened before. Created a whole new essence, with 'Hair' being a simple thing of people in the street and ... just funky. He created this whole universe of phantasmagoria around Jesus, with the simplicity of Christ on the desert, and these things came out of nowhere that looked like Fellini was having a party with all his friends."

"Superstar" on stage and on film:

"The difference was, if you will, creating that which we now accept wholly as Cirque du Soleil is what Tom O'Horgan and Robin Wagner did in terms of sets and lights and props and all that with 'Superstar' on Broadway in 1971. And then Norman (Jewison) brought it back down to the simplicity because Norman felt the most important ingredient, save the wonderful music, was to show the relationships between Jesus and Judas and Mary and Peter as friends. ... "

On Tim Rice and Andrew Lloyd Webber:

"Nobody knew who Tim Rice and Andrew Lloyd Webber were (in 1971) ... To see the two of them as innocent children in New York with that expression continually on their faces of, 'Oh my goodness, somebody is actually putting our show up! A real show!' "

"Every time we've put together a new production, they're still involved. They even wrote different things.

"Andrew did a whole new treatment of the musical arrangements for this tour, because he wanted to make sure that it had the essence of the new technology without taking away from the simplicity of the original; always having that original concept of the band, the rock band, being the central force and then embellishing it with technology.

"Tim even got into changing some lyrics, which, by golly, we got in some arguments over because I think those original lyrics I think are brilliant. But he wanted to update certain elements that he'd gotten flak for over the years."

On audiences:

"From 1971, which was my first experience, until today I have made friends all over America and Canada through this piece. ... No matter what city I go into, there's a family. At least a family of people that I know that welcome me into their home, that bring new family members to see the show, and friends. That's what's kept this piece going.

"There's a relationship. Everywhere we go, we're welcomed back. I believe honestly, and this is just my opinion, this is like no other show. This is more than a show. It's an experience for people. It's a spiritual awakening for some people. For some people, it's just a chance to get away from the house for a couple of hours and smile. For other people, it's a chance to show their friends what their youth was about. There's so many touchstones that make people have a personal response. Therefore it keeps it alive."

InlandSoCal - 4/2/10

http://www.inlandsocal.com/iguide/family/content/news/stories/PE_News_Local_W_webjcsreview.2304d5d.html

2006/The Press-Enterprise

But Neeley's singing absolutely commanded the show. With amazing control, his husky voice conveyed sorrow, love, fear, and outrageous rage. His high, piercing rock and roll screams could stop an ocean liner dead in the water, and in fact soared above the cranked-up electronics as he drove out the money changers from the temple in the first of his huge solos. "The Temple" scene riveted attention from Neeley's solo spot light to a pile of humans writing and singing in the darkness behind him, nagging him, crying out to him for help. Wow. How do artists come up with these amazing ideas?

Neeley's other mind-blowing solo came in the Garden of Gethsemane where he wrestles with God the Father before his betrayal, demonstrating huge vocal range from high notes that would make dogs' ears bleed to soulful low notes and an amazing expressive capacity. This song is reason enough to see the show.

Other reasons abound. Caiaphas played by Darrel Whitney sings his dark and evil character with a mighty and exotic low voice. John Twiford as Judas Iscariot maintains a confounded and wimpy demeanor of someone who wants to be the victim. Sarah Hanlon as Mary Magdalene sings the popular song "I Don't Know How to Love Him" with glossy elegance, clearly befuddled at her own feelings. Benjamin Van Diepen as Pontius Pilate pleads with Jesus with heart-rending power to do something to save himself, and, in the end, Pilate.

Still more reasons. The magical lighting moves the simple industrial stage set from Jerusalem streets to the temple to the garden to Golgotha. Weber's expressive music, from angular portrayals of fear and anger to sweet lyrical lines of love, drives the entire production. Jesus' last words - incorporating all four versions from the gospels - are uttered in agony rather than a stoic British accent. The hanging of the image of the shroud of Turin closes the show.

This is serious stuff, peppered only by the marvelously absurd Herod and his daffy dancing girls mocking Jesus in lurid fashion. I repeat, this is serious stuff, not meant to depict theology but to illustrate the frailties of human nature, which, if you watch carefully, it does very well.

My only protest is my long-standing objection to the rock and roll: the screaming singing and the nasty noise of the electronic music renders most of Rice's lyrics unintelligible. I have no idea what Matthew Myers as Simon was singing about in his song with the company. Too bad.

The irony of this work is the title song, sung only at the end when Jesus rises slowly from a small puddle of a flogged man and limply stands on his own, while the crowd sings, "Who are you, what have you sacrificed, Jesus Christ Superstar." What does this say about us?

Comment on this story

Guest
Looking forward to tomorrow's show...

Santa Claus
"Review of 'Jesus Christ Superstar: ' Ted Neeley is sea of calm..." On Santa Claus' 2010 List

Abraham Varghese
Review of 'Jesus Christ Superstar: ' Ted Neeley is sea of calm in cacophony of ...

KPCC ROCKS!

Working at KPCC rocks!

There are a lot of reasons why I love working in radio. One of them is that it's a great reason for me to talk to people whose work I really admire, especially musicians.

Last week, I was able to interview Mike Watt, bassist for two of my favorite bands The Minutemen and fIREHOSE. I also got to visit the home of Cherie Currie of the all-girl 70s rock band The Runaways. As I like to put it, it's the week that we made sure the "P" in KPCC stood for punk rock!

Meanwhile, my colleague Steven Cuevas was interviewing Ted Neeley, another one of my heroes! You may know Neeley from his role as Jesus Christ in the 1973 film Jesus Christ Superstar.

Neeley has played JC on stage more than 2000 times - amazing! And, Steven told me, he's also an incredibly sweet guy. The two of them took a photo together at the theater where Neeley played the role once again over Easter weekend

Here's what Steven had to say about the interview, "Ted is THE MAN. He actually wanted to take a picture with ME. Total charmer!"

Do you have a Southern California musical hero you'd like to hear about on KPCC? Let us know!

SCPR.org - 4/8/10

http://www.scpr.org/news/2010/04/08/neeley-superstar/

Veteran stage actor Ted Neeley kicks off 'Jesus Christ Superstar' tour

Many Christians are celebrating the end of Easter Week. Jesus is said to have been about 33 years old when he died. The man who’s been portraying him on stage for almost 40 years in the rock musical “Jesus Christ Superstar” is twice that age. Ted Neeley just kicked off “Superstar’s” latest tour in Riverside.

During a frank hour-long interview with KPCC, the 66-year-old Neeley makes a confession — he didn't want to play Jesus at first. To this day he covets the meatier role of Judas.

“Oh yeah, yes! Every night, you hear that guitar go “raaaarrrr, b-b-errrr!” and then we do the overture and Judas goes 'My mind is 
 clearer now, at last…' And I wanna go, 'JEEEEESUS!' — but I can’t!,”                                          Steven Cuevas & Mike McCully laughs Neeley. “I’m back there going, Hmmm, how would I do that if I   1: Ted Neeley at the Fox Performing Arts Center in Riverside 
were doing that? I thought it would be a great way to present a new        (Steven Cuevas) 2: Ted Neeley & KPCC reporter Steven Cuevas character. So I auditioned — and the director said 'that was wonderful,   (Mike McCully)
but I’d like you to sing the other guy.'”

Neeley got the part — first as an understudy then in the lead. Nearly 40 years on, Neeley is still playing Jesus.

In some ways he was born for the part. He’s a lean, shaggy haired Texan who grew up in a staunchly Baptist community. He no longer attends church, but Neeley is steeped in scripture. As a kid, the choir caught Neeley’s ear — and so did rock n’ roll. He took up the drums — and by the mid-60s, he was rocking his own band, the Teddy Neeley Five, on the Sunset Strip.

In the late 60s, L.A. led to Broadway — first in the rock musical “Hair" then in “Jesus Christ Superstar.” The stage show was a huge success and led to the classic 1973 film shoot in Israel. Neeley again took the lead, going sandal-to-sandal with his longtime friend Carl Anderson as Judas.

The film was also a smash. It led to a flood of short-lived and now long forgotten religious rock operas like “The Survival of St. Joan” and “Salvation: A Rock Opera”. But Neeley says not everyone was applauding.

“When we did this in ‘71 in New York City, we had to fight our way through picket lines every night. “Jesus is singing with a rock ‘n’ roll band! Blasphemy!”

These days, “Jesus Christ Superstar” is embraced by people of all faiths. But Neeley says there are still the occasional protestors. The musical helped legitimize Christian rock — and its songs, written by Tim Rice and Andrew Lloyd Weber, are frequently covered by secular performers.

In 1993, Neeley marked the 20th anniversary of the “Jesus Christ Superstar” movie by resurrecting “Superstar” on stage. It ran five years and earned over $100 million. Then came the so-called “farewell tour.” That was four years ago. No one calls it a “farewell” anymore.

“There are three generations of people who tell me, when they think of Jesus, they see my face. That scares me! I know Jesus was much more handsome, much taller” says Neeley. “And I keep saying: I’m a rock n roll drummer from Texas who screams high notes and that’s a character I get to play.”

At 66, Neeley can still nail the high notes. His once smooth mid-range is a bit rougher, but it lends his portrayal of Jesus an appropriate weariness. After all, Jesus knows he’s going to die. Neeley says aging has helped him reveal new aspects of Christ and of himself — as when Jesus angrily chases merchants from the temple.

“And he falls to his knees and talks to his father, and says 'my time is nearly through,'” explains Neeley. “And now, every night when I sing that line, that’s me! That’s just me in life. I don’t know how much more time I got. And that has so deeply influenced my psyche and my spirituality. Whenever that time happens, that’s when I feel that every night: “My time is almost through.”

“Jesus Christ Superstar” plays in cities across the U.S. through April. The next tour hasn’t been booked yet. Ted Neeley says as much as he wants to audition for the role of Judas, he’ll be happy to play the lead again.

http://rakstagemom.wordpress.com/2010/03/01/different-desert-different-time/

http://rakstagemom.wordpress.com/2010/03/04/mom-has-jesus-called-yet/

stage mom

FRONT PAGE

Different desert, different time

March 1, 2010 · Leave a Comment

About Lynn Trimble

Lynn Trimble is a writer/blogger for
Raising Arizona Kids magazine.

He recalls having them along on tour since they were just seven and nine years old, sharing that they’ve really “grown up with the show.” It’s allowed them to see every state and much of Canada. Today their interest in theater remains, but college is rounding out their acumen with the business side of the biz—marketing and such.

I shared with Neeley a bit about my previous experiences with the work—including listening incessantly to the original cast recording with the same fervor my daughter now displays for “Next to Normal,” and then seeing a touring production as a teen.

I don’t remember seeing the movie, which featured Neeley, when it was released in 1973 (my nose was probably stuck in a book at the time), but I do recall seeing the work on tour again a decade or so ago (with a different lead).

My children joined me for that performance at ASU Gammage, and we loved the over-the-top rock opera spectacle of it all. But this time around, shares Neeley, the show has a different feel.

Seems the audience members he’s renowned for chatting with after the show have shared with Neeley the role “Jesus Christ Superstar” has played in helping them imagine a different country, a different time—when Jesus walked the earth.

Those who see the current national touring production, coming to ASU Gammage in April, may feel they’ve been transported to a faraway desert some 2,000 plus years ago. Still, reflects Neeley, the work is more “spiritual” than “religious.”

“There is a universal spirituality that connects all of us independent of whether or not we embrace a particular religion,” reflects Neeley. He notes that “Jesus Christ Superstar” recounts the last seven days in the life of Jesus as seen through the eyes of his contemporaries, when “no one saw him as more than an outspoken man.”

“Jesus Christ Superstar” looks at Jesus the man, something Neeley says was rare at the time the work was developed by Andrew Lloyd Webber and Tim Rice. Composer Webber was just 21 at the time, while lyricist Rice was all of 25.

Neeley recalls that when he first performed “Jesus Christ Superstar” in New York during the early 70s (before the film was shot and released), Jesus was “omnipresent.” Harkening to his childhood of regular church-going, Neeley describes Jesus as “the stained glass man.”

Scholarly study of Jesus the man has blossomed since that period, according to Neeley, who says the plethora of books on this topic today provide a wealth of material with which to research Jesus and refine his portrayal in meaningful ways.

So what should we expect when Neeley and the rest of the “Jesus Christ Superstar” cast take to the ASU Gammage stage next month? I’ll share more about that—plus some of Neeley’s other projects—in a future post.

I’ll also share Neeley’s thoughts for those of you pondering or preparing for a career in the performing arts. Folks who’ve sailed past 60 while continuing to earn accolades for their artistry—whether Ted Neeley, Bruce Springsteen, Angela Lansbury, Quincy Jones or Chita Rivera—are esteemed for a reason.

Stay tuned to learn more…

–Lynn

Mom, has Jesus called yet?

Gilbert Theatre Examiner - 3/23-24/10

http://www.examiner.com/x-38337-Gilbert-Theater-Examiner~y2010m3d23-Gilbert-Theater-Examiner-Chats-with-Ted-Neeley-star-of-Jesus-Christ-Superstar-Part-One

http://www.examiner.com/x-38337-Gilbert-Theater-Examiner~y2010m3d24-Gilbert-Theater-Examiner-Chats-with-Ted-Neeley-star-of-Jesus-Christ-Superstar-Part-Two

Gilbert Theater Examiner: Chats with Ted Neeley star of Jesus Christ Superstar Part One

March 23, 9:59 AMGilbert Theater ExaminerJoseph Gordon

The National Tour of Jesus Christ Superstar will open at the ASU Gammage on April 6 and continue through April 11. Jesus Christ Superstar has the distinction of being the first smash stage success of Tim Rice and Andrew Lloyd Webber. Following on the innovative heels of Hair, Superstar firmly established the sound of rock in Broadway musicals. It is also the show that catapulted Ted Neeley 

Jesus Christ Superstar logo courtesy of ASU Gammage

to international stardom. Since that opening night on October 12, 1971, the names Jesus Christ Superstar and Ted Neeley have become forever joined as one and the same.

Last week, I had the distinct pleasure of speaking with Ted Neeley about his rich and rewarding history with Jesus Christ Superstar. I found him to be open, personable and gracious. While his place in the history of rock music is assured, Neeley is disarmingly unassuming about his ample talents and achievements.

Ted Neeley was such a delightful raconteur that this interview will be published in two parts. This is Part One. Part two will be published tomorrow.

You are well known for playing Jesus in Jesus Christ Superstar but you have had a great career in both theater and music. Other than Jesus, what are some of your other favorite roles that you have played?

Oh, my goodness! That would take us hours. I can try to edit that down to say every piece that I have had the honor to be in has been a wonderful educational process for me. Most importantly, the very first one which was Hair. That was my first experience in theater and I got to be in that show for three years prior to
being a part of Jesus Christ Superstar,

         Ted Neeley and company photo by Joan Marcus

During that three year period, I had the great good fortune of working with a magnificent director named Tom O'Horgan. Bless his heart! He just passed away recently. I had the opportunity to be his student, if you will, in theater for three straight years. Literally, the man taught me everything I know about what it is that I do when I get the opportunity to be in a wonderful production.

I played the role of Claude in Hair who is the one character in the piece that chooses not to burn his draft card and ends up going to fight in the Vietnam war, ultimately losing his life. The great experience was that I was able to go from that production of Hair directly into Superstar because Mr. O'Horgan was the original director of the Superstar production in New York in 1971.

I saw that production.

Well, then you saw the magnificent visionary ability of Tom O'Horgan and his design partner Robin Wagner who was the set designer and co-creator of not only Hair and Superstar but also the production we did of Sgt. Pepper. Both those gentlemen did many other productions but those are the ones that I specifically worked on with them. They also conceived and directed the first National Tour of Superstar. That show opened at the Universal Amphitheater in Los Angeles, a theater that was actually built for the Jesus Christ Superstar production that year; that was in 1972. I just have to say that no matter what I have had the pleasure of doing theatrically, or on film, or on television, or whatever, nothing whatsoever compares with the experience I have had with Jesus Christ Superstar. It is something that has changed my life drastically in every possible way, all for the better, and it is something that I shall forever be thankful for having had the opportunity to be a part of.                                                                                                                               

Ted Neeley and James Delisco photo by Joan Marcus

You have played Jesus over 1700 times. What about Jesus Christ Superstar has inspired to make it such an important part of your life?

Actually the experience itself! I initially auditioned for the role of Judas. I got a call from Mr. O'Horgan saying, “Ted, I'm doing this play and I want you to be in it. The producers don't know your work. Please, just pick up the album, choose a song and come sing for us.” So I did!

When I heard the album I gravitated toward the songs that the character Judas sang and certainly the character as well; primarily, because of my   personal upbringing, growing up in a tiny Texas town with churches everywhere.            

Ted Neeley and company photo by Joan Marcus 

I had a deeply religious background so I was very familiar with the whole concept. I honestly didn't think it would be a very wise decision for an actor of my limited ability to take on the role of the most well-known icon in all of history. I opted for the role of Judas so I could play someone that people didn't know so much about other than an initial dastardly deed.

I auditioned; I sang the song Heaven on their Minds which is the opening song. Once the song was finished I noticed Mr. O'Horgan jumped out of his seat in the theater and ran up toward the stage. I was thinking, “My goodness, maybe I got the part.” He ran up on stage. He threw his arms around me. He told me, “That was lovely but if you wouldn't mind, please come back tomorrow and sing the other guy.” And I have been singing the other guy ever since!

Will this be your farewell tour in JCS?

Oh, I sincerely hope not! Certainly that rumor has been flying around for quite some time. In fact, to be honest with you, when we first mounted this show in New York, in 1971, we thought it was the farewell experience for all of us. We had no idea it would go past opening night. At that time no one knew about the plans for a film. So every time I have been a part of this, everyone thinks it will be the last time it's done. I have no desire to retire from this business, ever. I am hoping that I have at least another 2000 years performing this role.                             

Ted Neeley and company photo by Joan Marcus

Gilbert Theater Examiner: Chats with Ted Neeley star of Jesus Christ Superstar Part Two

March 24, 9:58 AMGilbert Theater ExaminerJoseph Gordon

The new National Tour of Tim Rice and Andrew Lloyd Webber's .Jesus Christ Superstar starring Ted Neeley will open at the ASU Gammage on April 6 and continue through April 11.

Following quickly on the innovative heels of Hair, Jesus Christ Superstar made certain that the

Jesus Christ Superstar logo courtesy of ASU Gammage                  

sound of rock would be the new dominant force behind Broadway musicals.

The theater names of Jesus Christ Superstar and Ted Neeley have become synonymous since that fateful opening night of October 12, 1971 at New York's historic Mark Hellinger Theatre. After speaking with Mr. Neeley, I could not resist sharing all the wonderful things he had to share about his experiences with Jesus Christ Superstar. I decided to split the interview into two parts.

This is Part Two. Part one was published yesterday. Click HERE to read Part One.

You have been a recording star, sought after record producer and have worked with some of the great names in the music world as well. Tell me a little about your music? 

I have been writing since I was a child. Nothing of value, if you will. Just little things I think of and jot down and am able to talk some friends of mine to go into the studio and play around with.  

The fact that I have been in this business as long as I have, I've had the great opportunity of working with wonderful people. A lot of people will ask me to write lyrics to their music or music to their lyrics. I've collaborated with many people. Also, I have had the opportunity, as well, to write for film scores and theatrical productions and all that.

What inspires your music?

Everyone with whom I have worked and/or heard sing, perform since the day I was born. Literally, as a child, I was never anywhere without the radio blasting in my

Ted Neeley in Jesus Christ Superstar photo by Joan Marcus

ear. My parents, I remember, used to come in and say, “Ted, you're never going to finish that homework if you don't turn off that radio.” So, it's always been part of my life. Everything I see on a daily basis, conversations I have with someone, words that someone will say in a cab ride or something, can inspire me to just jot down the thought and the next thing you know it becomes a song. And there you go!

Tell me about your rock musical Rasputin. 

Thanks for mentioning that! Yes, we have a piece called Rasputin and we also a piece called Pandemonium. Both of them are similar in scope to Superstar in the fact that they are sung through. They are not dialog pieces. The stories are told through the lyrics of the songs themselves. Both of them are completed and ready to go. In fact, we have already done the complete cast recording of Rasputin. Whenever this particular tour runs it's course, we hope to have one or both of those up ready to go in a short period of time.

You also were involved with Murder in the First. Please tell me about that experience. 

I wish I could take the credit for writing it. I didn't write it but had the great good fortune of being able to perform in Murder in the First with the Rubicon Theatre Company in Ventura, California. I have belonged to the Rubicon Theatre Company now for going on twelve years. It's a wonderful community theater group where we do original and classic works. We do at least six productions a year out there. Pandemonium and Rasputin are both being developed through that particular group. I am very proud to be a part of that. It gives me the opportunity to work with some magnificent artists, all of whom collaborate on each project in various capacities.

We also have a wonderful outreach program that takes care of the children in the community who are interested in becoming involved in theater. We have a summer program for those children to come and be a part of it. They've named themselves the Stinky Feet Theatre Company and each summer they come and choose a play or musical that they wish to be a part of. We then rehearse it and work with them and then do the production and they are all in it.

All of this has been made possible for me because of my

Ted Neeley, Craig Sculli and company photo by G Creative          

long association with Jesus Chris Superstar. I have initially Tom O'Horgan to thank for that and also Norman Jewison, the great director, who made the film. 

AZCentral.com - 4/2/10

http://www.azcentral.com/thingstodo/stage/articles/2010/04/02/20100402ted-neeley-jesus-christ-superstar.html

Q&A with Ted Neeley, 'Jesus Christ Superstar' for life

by Kerry Lengel - Apr. 2, 2010 02:15 PM
The Arizona Republic

Before inheriting the mantle of "Superstar," Neeley played the lead role of Claude in the first Broadway production of "Hair," and decades later he played another title role, in "The Who's Tommy," in LA. He has performed in film and TV and in the music studio as singer, songwriter, arranger and producer.

But it's "Superstar" that he's known for, and he's perfectly happy with that.

Question: Many Christians hold that Jesus was 33 when he died and rose again. And you are . . . ?

Answer: Thirty-three. I shall forever be 33, based on the fact that this film was made and I portrayed a character who was 33.

Q: What was it like making the film compared with performing onstage?

A: It's a completely different experience because, no matter what you do, the camera is always in your face, even when you don't see it. It's so very personal. You know that every little move you make has a little suggestion to the viewer. Whereas theater, it's live. . . . You're there, and you're saddled with whatever decisions you make at the moment. Recalling the film puts me in the right frame of mind every time I perform it onstage.

Q: It set your performance?

A: Certainly.

Q: You have starred in three of the great rock musicals of our time, "Hair," "Superstar" and "Tommy." Can you pick a favorite?

A: You missed a fourth, "Sgt. Pepper's Lonely Hearts Club Band on the

Ted Neeley (center) and the touring company of "Jesus Christ Superstar."

_______________________________________

Win tickets to 'Jesus Christ Superstar'

Apr. 2, 2010 02:56 PM
azcentral.com

YourWestValley.com - 4/4/10

http://www.yourwestvalley.com/news/role-14554-judas-andrew.html

'Superstar' shines at ASU Gammage

                        enlarge
                                                   Submitted photo
Ted Neeley is center stage as Jesus in Andrew Lloyd Webber's “Jesus Christ Superstar,” opening Tuesday at ASU Gammage Auditorium in Tempe.

See archived 'Top Story' stories »

Gilbert Theatre Examiner - 4/7/10

http://www.examiner.com/x-38337-Gilbert-Theater-Examiner~y2010m4d7-Jesus-Christ-Superstar-reviewed-at-ASU-Gammage?cid=exrss-Gilbert-Theater-Examiner

Jesus Christ Superstar reviewed at ASU Gammage

March 23, 9:59 AMGilbert Theater ExaminerJoseph Gordon

The National Tour of Jesus Christ Superstar starring Ted Neeley opened last night at ASU Gammage. The classic rock opera will continue through this Sunday, April 11 and promises to justifiably pack the house nightly. 

Jesus Christ Superstar was the first work by Andrew Lloyd Webber and Tim Rice to reach Broadway. The musical began its life as an enormously popular “concept” album. Under the visionary, Fellini inspired direction of Tom O'Horgan, Jesus Christ Superstar logo courtesy of ASU Gammage
it made a seamless translation from discs to stage. Lloyd Webber's rock opera debuted on Broadway on October 12, 1971 at the Mark Hellinger Theatre. Despite receiving a decidedly mixed reception from the critics still uncomfortable with the theatrical sound of rock, the theater going public immediately embraced the musical and kept it running for nearly two years. Jesus Christ Superstar closed on June 30, 1973 after 711 performances.

HAIR and, most particularly, Jesus Christ Superstar were instrumental in legitimizing the sound of rock for Broadway. Lloyd Webber and rock music came to dominate the musical theater for the next decade.

The 1980's became known as “The British Invasion.” Soon to follow were Joseph and the Amazing Technicolor Dreamcoat, Evita, Cats, The Phantom of the Opera, Song and Dance (all Lloyd Webber), Les Miserables and Miss Saigon (the latter two by Schoenberg and Boulbil...okay, technically French but brought to the stage by Brit Cameron Macintosh).

Last night, from it's opening notes, Jesus Christ Superstar had the unmistakable sound of rock. This is the fresh sound of a young Lloyd Webber, a voice that was still original and firmly his own. Evita followed the same path as JCS, first as another “concept” album

Ted Neeley and company. Photo: © 2006, JOAN MARCUS

and then a full    theaterproduction by the legendary Hal Prince. In retrospect, Evita capitalizes too much on what made Jesus Christ Superstar work so well and truly suffers by comparison. Judas in Superstar is used as a narrator, sort of a Greek chorus. Che's role in Evita is used in much the same way but to a far lesser effect. Che had no real contact with Evita Peron while Judas was very much a part of Jesus' life on earth (we all know that story). Evita's ultimate success was the result of Prince's brilliant, uncompromising, dynamic vision and, of course, Lloyd Webber's score.

Co-author Tim Rice has always rested unfairly in the shadow of his collaborator. His contribution to Jesus Christ Superstar is staggeringly brilliant. After all, where would this show be without Rice's lyrical words, filled with satire and such dramatic irony? 

Jesus Christ Superstar has always been among my favorite Rice and Lloyd Webber collaborations. I was sadly disappointed with it's original Broadway staging. My expectations simply did not mesh with O'Horgan's over the top vision. Last night, the current National Tour corrected that initial disappointment. Under the able hands of director Dallett Norris and choreographer Arline Phillips, Jesus Christ Superstar was magnificently resurrected. This new production finally gave me the vision I had always imagined for this great work. Superstar is redeemed and now possesses the fluidity and simplicity that was, for me, the authors' original intent. Gone were the pyrotechnics and lamé jock straps of O'Horgan! Scenic

Ted Neeley and company. Photo: © 2006, JOAN MARCUS

designer Bill Stabile and costume designer Fabio Toblini have given the visual production a spectacular simplicity.  


Ted Neeley and Jesus Christ Superstar continue to be unmistakably, forever joined as one. There is a touching humanity to Neeley's dramatic and vocally powerful performance. His Jesus is a man trying to do God's work but frustrated by the limitations of his very humanity and the looming end to his existence on earth, so beautifully illuminated in his Gethsemane.

Neeley is supported by a wonderfully talented ensemble. John Twiford is simply brilliant as Judas. From his entrance singing Heaven on Their Minds, Twiford takes hold of the audience and keeps them in his firm grip. One of the evenings many highlights is his powerhouse delivery of the shows title number at the close of the show, backed by three female singers I will call the Judettes. This scene, as envisioned by Norris and Phillips, is an affectionate nod to the wild abandon and imagination of Tom O'Horgan's original staging.

James Delisco and the Soul Singers. Photo: © 2008, G CREATIVE

Sarah Hanlon's Mary Magdalene is breathtaking. She brings to I don't know to love him a painful touching, reality, filled with Mary's uncertainty and confusion at her unrequited love for Jesus. Andrew Hartley's debauched and dizzy Herod is another highlight. While the rest of the ensemble is mostly clothed in somber black or neutrals, Herod is amusingly and colorfully dressed with a more contemporary, fashionable flair. His King Herod's Song is a delightful 11 o'clock, vaudevillian throwback, more reminiscent of Joseph and the Amazing Technicolor Dreamcoat than the serious rock sound that dominates Superstar.

The closing orchestral piece John 19:41 is an exquisite requiem, beautifully illustrating Lloyd Webber's classical roots. The visual tableau is stunning as the crucified Jesus is seen to rise, body and soul, to Heaven while his burial shroud falls to earth.

Hurry! You only have till this Sunday to experience the wonders and joys of this most entertaining, revelatory production of Jesus Christ Superstar.

Las Cruces-Sun News - 4/7/10

http://www.lcsun-news.com/las_cruces-entertainment/ci_14840459

'Superstar' of the stage: Ted Neeley fronts 'A.D. Tour' at the Pan Am on Monday

'Jesus Christ Superstar,' and the actor who plays him, have evolved over the decades

Actually, the guy who's played the title role in "Jesus Christ Superstar" for the better part of the past 38 years is from Texas.

Ted Neeley -- who grew up in tiny Ranger, Texas, and now makes his home in the Houston area -- said a sense of humor is vital to his job.

"I need all the jokes I can get," Neeley said by phone. "If you can't have a sense of humor doing what I'm doing, you might as well get out."

That's not something he's been able to do. Neeley under studied the role when Andrew Lloyd Webber and Tim Rice's first hit opened on Broadway in 1971.

Neeley also has sung the part in concert versions, but he's done plenty of other things, including recording solo albums, producing and arranging for other artists, and creating several roles for the theater. He played Billy Shears in a theatrical touring version of the Beatles' "Sgt. Pepper's Lonely Hearts Club Band on the Road" and the title roles in stagings of the Who's "Tommy" and "Rasputin," which he helped put together.

But there's no other role with which Neeley, who started his career as a rock drummer in the 1960s, is more closely associated.

It's led to some interesting conversations with the play's fans and critics over the years.

"I talk to people from every possible root of philosophy -- believers, people who believe nothing, people who are not sure, agnostic, on and on and on," Neeley said.

The musical, which is based on Christ's last seven days, strikes a chord deep in the hearts of many people who see it, he believes.

"They all come from from the same place, which is what I believe to be a universal spirituality," he said. "It has nothing to do with religion in any way, shape or form, nothing to do with the kind of organized crap that says, 'Send money.' "

That's been one of the biggest surprises for a guy who grew up in a small town.

"Where I grew up, in north-central Texas, the Southern part of the Bible Belt, Jesus was a stained glass window. I accepted what was taught by the ministers and the Sunday school teachers," he said.

His views have changed since then, though Neeley said he's still infused with the idealism and anti-war sentiments that were roiling when "Jesus Christ Superstar" debuted as a rock opera album in 1970, with Deep Purple's Ian Gillan singing the role.

Neeley started playing in bands in Texas, when he was a contemporary of El Paso rock legend Bobby Fuller and worked clubs in Texas and New Mexico, including El Paso.

He was based in Los Angeles when he landed a part in the chorus for the first Broadway production of "Jesus Christ Superstar" in 1971.

Those were scary times, he said, mostly because the notion of a musical that depicted Christ as a man, set to the devil's music no less, led to protests, pickets and charges of blasphemy from some Christian groups.

"When we first did it in New York, we were picketed literally every night in front of the theater, and backstage they tried to stop us from going in," Neeley said. "They thought of us all ultimately as blasphemous."

The play still gets some protesters today, but Neeley said time has been good to "Jesus Christ Superstar." It's just as likely to be staged by a church group as a professional touring company today.

Neeley said it's evolved into a "spiritual 'Sesame Street.' "

"They look at us as a learning tool for children to find the spiritual element of life," he said of modern audiences. "Now, these groups who were protesting are the most strongly supportive. They use it in their sermons."

Neeley does some sermonizing of his own, criticizing what he calls "the brainwashing that organized religion has become," and speaking out about the evils of war whenever he can.

"Sorry, I'm preaching," he said.

Local theater veteran Greg Taylor, who is a friend of composer Tim Rice, said Neeley was "fantastic" in a production he saw in the '90s at the Abraham Chavez Theatre.

Taylor, who has staged the musical in his capacity as director of UTEP Dinner Theatre, believes its enduring popularity is no mystery.

"I don't think the popularity of the show will ever go down," he said. "It's Jesus. It's a story, obviously, for all time, and I think the fact that in the time period they wrote the show, the late '60s, using rock music and the operatic format was considered blasphemous.

"This was Jesus for young people. It's been 40 years since, and it's still Jesus for youngish people."

Playing Jesus for a living has had a profound effect on Neeley, professionally and personally.

How could it not?

"I had a deeply religious background as a child, so it was an easy bridge to cross," Neeley said. "I had no idea it would have the depth of interest it would have for me, or the range of education. It allowed me to do what I'm doing now."

Doug Pullen may be reached at dpullen@elpasotimes.com; 546-6397. Read Pullen My Blog at www.elpasotimes.com/blogs.

make plans

• What: "Jesus Christ Superstar."
• When: 7:30 p.m. Monday.
• Where: Pan American Center, NMSU, Las Cruces.
• How much: $29, $39, $45 and $55, plus service charges (some children and group discounts available), on sale at the box office and Ticketmaster outlets, www.ticketmaster.com and 800-745-3000.
• Information: 575-646-1420, panam.nmsu.edu.

Las Cruces-Sun News - 4/7/10

http://www.lcsun-news.com/ci_14840464

'JCS' performer excited to perform for godparents in Las Cruces

'Jesus Christ Superstar'

Apr 08, 2010 (Times Record - McClatchy-Tribune Information Services via COMTEX) --

The Golden Globe-nominated actor in the film version of "Jesus Christ Superstar" will take viewers on a music-based journey through biblical times with a contemporary twist this month.

Ted Neely will join his castmates for the Broadway touring production of "Jesus Christ Superstar" at 7:30 p.m. April 15 at the Arkansas Best Corporation Performing Arts Center, 55 S. Seventh St. Featuring the collaborative storytelling efforts of Andrew Lloyd Webber and Tim Rice, the show is ideal for all theater and music fans from early teenage years to senior citizenship, said Stacey Jones, associate vice chancellor for campus and community events at the University of Arkansas at Fort Smith.

"In terms of the national touring show, this is the first time that it has played here," he said of the production, which is part of UAFS' Season of Entertainment 29 schedule. "Musically speaking, this features some of Webber's best work."

Opening on Broadway in 1971 and becoming an Oscar-nominated musical film in 1973, "Jesus Christ Superstar" documents the final week of Jesus of Nazareth. Jesus is seen entering Jerusalem, a place where his popular presence and teachings meet unrest and controversy.

"I saw Ted Neely in the movie

Featuring memorable costumes and set designs. "Jesus Christ Superstar" also presents Jesus' betrayal at the hands of Judas, as well as the mob-like trial before Pontius Pilate and Jesus' crucifixion.

"There was a little bit of resistance when it first came out, but theater-goers love it," Jones said.

The production runs two hours and 15 minutes and includes an intermission, he said.

"This is a big show with a lot of technical (aspects)," Jones said. "It's a real treat for the Broadway-lover. It might be a little sophisticated for those who are too young, but I would say those who are in junior high and older definitely will enjoy this."

Rumors recently have surrounded the production, but they have been controversy-free discussions, he said.

"I wouldn't be too surprised to see Ted Neely retire after this," Jones said. "He might do one more tour after this, but I'm hearing rumors that he might retire after this."

Admission to the production is by season or individual ticket. Individual tickets are $37 and $40 and can be purchased by calling 788-7300, at the UAFS Box Office and at www.uafortsmith.edu.

For information, visit www.thejcstour.com.

UAFS Season of Entertainment 29

"Jesus Christ Superstar"

When: 7:30 p.m. April 15

Where: Arkansas Best Corporation Performing Arts Center, 55 S. Seventh St.

"Jesus Christ Superstar" is the popular, rock-based Broadway musical from Andrew Lloyd Webber and Tim Rice and stars Ted Neely from the Oscar-nominated 1973 film version. Admission is by season or individual ticket. Individual tickets are $37 and $40 and can be purchased by calling 788-7300, at the UAFS box office and at www.uafortsmith.edu.

For information, visit www.thejcstour.com.

To see more of the Times Record or to subscribe to the newspaper, go to

http://www.swtimes.com. Copyright (c) 2010, Times Record, Fort Smith, Ark.

Distributed by McClatchy-Tribune Information Services.

by Mark-Brian Sonna of MBS Productions

There are some shows that are impossible to praise enough. This is one of them.

Jesus Christ Superstar (which just finished a one-weekend run at the Majestic Theatre in Dallas), the groundbreaking musical by Tim Rice and Andrew Lloyd Webber, is not an easy show to do right. Because it is episodic, with each song being its own small narrative, it requires the performers to build upon these scenes and create an ever-building momentum. This of course should lead to an explosive finale, but in truth, after the convulsively loud title song “Superstar” we still have about 10      Cast of Jesus Christ Superstar                  minutes of near silence with Jesus being crucified and uttering his last few words, and the orchestra playing ever more softly. This seems like an “anti-climatic” climax. But if done right the effect is devastating and haunting. This touring production gets it right. They get it so right that the audience at one point collectively gasped and then held their breath. This has got to be one of the most powerful endings of any musical I have ever seen. I walked out of the theatre shaking, in tears, and at the same time in elation.

This is a completely different emotion then the last time I saw the show, which was the critically-lashed New York Broadway revival several years ago. On that occasion I walked out angry for I felt I had wasted a small fortune to see a poorly directed and conceived show -– the performers were good, but the director and choreographer had ruined the musical.

What makes this production the new definitive version is the confluence of talent from the production side, the direction and choreography, and the performances. There is perfect unity. This is the version to go see. I am a big fan of the film and this is 10 times better.

The metal scaffolding styled set designed by Bill Stable is harsh in its coldness, yet because we can see through it doesn’t overwhelm the stage and doesn’t seem heavy. Because we can see through it the lighting design by Rick Belzer allows the use of shafts of light to go through it, bounce off its edges, create unique shadows, and thus create all the different locations the musical takes place. Add to this the costuming by Fabio Toblini which explodes in colors and then can be oppressively dark, and we see once again how in sync all the technical elements are and should be for every show. Perfect.

This show has hyped the fact that Ted Neeley, who played the role of Jesus on Broadway and in the film, is touring. Most of my acquaintances and theater friends immediately asked: "Isn’t he too old to play the role?" I can answer after seeing his performance: Absolutely not. His voice is not that of the film, for a quarter of a century has passed since them. It is more gravelly, and some of the notes are not as pure. This is not to say he isn’t a phenomenal singer, for he still is. What he has now that he didn’t have before is a long-term understanding of his character. When a performer plays a role for so many years two things can happen: they deliver canned performances, or they continue to develop the role and find subtleties that will enthrall the audience. He literally stopped the show after his glorious performance of “Gethsemane.” You hear about “showstoppers.” This is one of those moments that is so rare in theatre. The orchestra had to hold for the audience to calm down.

The crucifixion scene is bloodless, yet it is as agonizing as anything I’ve ever seen on stage or in film. His glorious performance is framed and interwoven with one of the most beautiful images I’ve ever seen created on a stage. He is suspended on the cross; how I could not tell at first. It was similar to the famous Dali painting. A moment after he dies he gives an audible gasp and while holding his arms outstretched he begins to rise up into the air and into the vault of the stage. He was rigged to be lifted, but the lighting hid it beautifully so we as an audience see only him and a shaft of light. His resurrection was so breathtaking you could hear a pin drop in the audience. In a manner of minutes, Ted Neeley had us in tears and beaming with hope. All he did is hold his breath and gasp. His breathing alone was able to cause the audience to react so viscerally. That is how powerful Mr. Neeley is on stage.

The other fascinating detail in his performance was his continual talking to God. As the scenes were being played out he was conversing silently with God. We saw his mouth move, and make gestures. It was a bit disconcerting at first, but it emphasized his uniqueness and divinity. Here is a man that is not like the rest. It also emphasized why he was being seen as peculiar to some, and in awe by others. This choice is unexpected yet it is perfect.

The show also hinges on the performances on the rest of the cast and each performer had their own jaw-dropping moments.

John Twiford as Judas redefined the role. Besides having a sublime and vocally-expressive tenor voice, he is playing the role of an overgrown, spoiled, yet likable man. His adoration of Jesus is palpable, but so is his internal conflict of what he wishes Jesus to be. He becomes, like Jesus, a tragic hero. His agony over the betrayal redeems him. He is caught in the role of the divine plan which he cannot escape. The scene leading to his death is full of sorrow, and his suicide is brutal. Emotionally he leaves the audience devastated. Mr. Twiford is magnificent.

Sarah Hanlon, who plays Mary Magdalene, mentions in the program that this is her tour debut. She belongs on Broadway. Of course, if she was there we would not have had a chance to see her perform here. Her voice is sublime, one of the best I’ve ever heard. She’s sensuous and glorious. Her vocal nuances are full of impact. Her inner conflict of desiring Jesus as a man and her Ted ever-growing realization that he is divine provides an added level of pathos to the show. She too      Neeley as Jesus in Jesus Christ redefines the role, and makes it perfect.                                                                                           Superstar 

Darrel R. Whintey as Caiphas and Alex Mackyol as Annas are much more subtle in their portrayal of the Jewish leaders that lead the revolt against Jesus. They don’t start off as cruel. They show us exasperation as to what to do with the political unrest Jesus is causing. As their exasperation grows it turns into anger and eventually leads to cruelty. These roles are seldom portrayed in such a three-dimensional manner. The two men find new depths to their characters. They fascinate.

Benjamin Van Diepen’s Pointius Pilate is brilliantly unique. Here he is cast as a young man. It’s a kid dealing with a major problem. He’s smart enough to devise a solution to prevent the crucifixion, yet he comes across as inexperienced in being able to appropriately carry it out. He is woefully unprepared for the problem at hand. Mr. Van Diepen is wise in portraying Pilate in this matter. Had he tried to “act” older it wouldn’t work. Because he’s young he used his age to make Pilate absolutely compelling. He also has another tremendous voice full of expressivity. I found myself wishing a musical could be created for him and this character for he played him superbly.

There is one moment of much-needed comic relief in this show. By act two the tension is so great we need a respite. Andrew Harley’s king Herod is funny and very scary. When he begins his scene he is so lighthearted and I appreciated the break of tension. But then he turns this on its head. Within the space of the three minutes of his song, he becomes a demented monster. His is not anger at Jesus for being uncooperative, but a fury because he doesn’t get his way. He had us laughing at first and frightened by the end. His mental instability was truly threatening and horrifying.

Peter is played by Adam Scott Campbell. Though it is a small role, it too redefined how this part should be played. His pain at his betrayal is palpable. His portrayal made me wish the role had been larger.

Matthew G. Meyers plays the fanatical Simon Zealots. What makes his take so unique is that he chose to portray his fanaticism in a selfish way. He likes Jesus and what he stands for, but there is no doubt that his adoration will vanish in an instant if Jesus doesn’t live up to his expectations. It drives the point home of how quickly fanaticism can lead to hate. His performance finds and edge to this character unseen before and it works.

All of these performances are enhanced by the stunning direction of Dallett Norris. He creates an onslaught of visual moments of unbridled beauty. During the last supper for a moment the famous Da Vinci painting is recreated and it brought a round of applause from the audience. How could it not? The moment wasn’t forced it simply happened. He continuously creates references to classical paintings of the life of Christ. It is a continual visual feast. His surreal staging of the beggars and lepers is harrowing. He has the entire cast enshrouded in one enormous piece of fabric with only their heads showing through. This large human organism, spurts, jerks, and continuously grows as they plead for cures and help till it overwhelms Christ and he’s engulfed by them. Mr. Norris is a genius at staging.

There is less dancing in this show then other versions I’ve seen. Arlene Phillips’ choreography is superb. Odds are most people will have seen the film version and because of it they will have certain expectations for the dancing which was brilliantly executed. She makes a few choreographic references to the film, enough to satisfy the audience, but then she adds her own touch which takes the choreography onto a whole other level.

Michael Mitchell’s music direction keeps the spirit to the original cast recording. This said, what he does better then the recording and the Broadway version I’ve seen is give emphasis on musical phrases that enhance the action on stage. There are also some variations in tempos and instrumentations which improve upon the original. The unity of the orchestra with the performances on stage is seamless.

In retrospect, I can’t think of anything wrong with the show. Seldom do I see a stage production I consider flawless. This is one of those rare instances. As I left the theatre, I immediately called friends and told them to go and see this musical and not wait for this review to come out.

Lastly, I’m not one who willingly or frequently will give a standing ovation. This production more then deserved it.

COMMENTS

Robert Politano, says:

Excellent review Mark. I saw the Saturday evening performance of Superstar at The Majestic Theatre here in Dallas. This was the 5th time I've seen a stage version of JCS and yes, it was truly magnificent. This touring show pretty much went back to the traditional staging of this work (which I prefer more), compared to the 2000 Broadway revival production and subsequent touring show, which put this Rock Opera into a more modernistic point of view. Yes, Ted Neeley has aged (haven't we all) yet he still fits the part to a tee. Although I've seen several actors portray the role of Jesus in this show several times in the past, Ted's performance will always be the one that sticks with me, mainly because of his portrayal in the lead role of the 1973 film version, which will always be considered one of the greatest cinematographic achievements in modern film.

http://www.hdnews.net/Story/Firestone042210




'Jesus Christ Superstar' amazes Hays audience

Published on -4/22/2010, 10:30 AM

'Jesus Christ Superstar' to take center stage

BY P.J. NUTTING • pjnutting@coloradoan.com • April 22, 2010

Without Tim Rice and Andrew Lloyd Webber's vision of combining rock music with the last week of Jesus' life, contemporary church bands and commercial Christian rock would not have been possible, Neeley said.

"Now, (religious rock music) is everywhere," he said. "(Churches) depend on rock musicians to inspire their members."

Fast forward to today when church groups routinely perform the production.

"Once people saw what we were doing, they realized it was not anti-religious," Neeley said. "It was absolutely supporting the whole philosophy of their religious base."

Even the '90s tour with its DayGlo temple and shining glass crucifix was found acceptable by the religious community. Each director takes a different artistic approach to the story, Neeley said, but time has shown that people aren't as concerned with the rock theatrics as they are with the power of the story and the music.

"We learned after all these years that the people who come to see this are people who want to hear the music first and foremost," he said. "They don't necessarily appreciate a lot of the special effects; it just gets in the way.

"So we're trying our very best to get the essence of the film version (in which Neeley also starred) in its simplicity, so you see a sampling of the way people looked and lived 2010 years ago in the desert in Israel, and believe me, there were no special effects then," Neeley said.

Where he once was considered a mocker of Christianity, now Neeley is invited to speak at churches as a religious authority. And why not? He has been spreading the gospel of Jesus for most of his career.

"Now it feels to me that we are perceived by the public as a spiritual 'Sesame Street,' " he said. "They know, after all these years, that small children can more easily learn about Jesus by watching the movie.

"This is not a Broadway show," Neeley said. "This is a spiritual awakening in theater. I've been told that all my adult life by people all over the world. They tell me that if they had not seen JCS, they would not have understood the passion of the spirit."

"Jesus Christ Superstar" comes to the Civic Center

By Karen Cotton
kcotton@wyomingnews.com

A 'Superstar' performance

Posted By GREG BURLIUK, THE WHIG-STANDARD

Posted April 24, 2010

For nearly 40 years, Ted Neeley has been wearing a crown of thorns and couldn't be happier about it.

He's been playing the title role in the Andrew Lloyd Webber musical Jesus Christ Superstar ever since playing it in the film version directed by Canadian Norman Jewison in 1973.

Neeley brings the popular musical to the K-Rock Centre on April 30.

The  role of Jesus is a taxing one. Not only does the actor get beaten, scourged and crucified every night, but also he must sing the song Gethsemane, a seven- minute tour de force that includes screeches of almost inhuman heights.

At the age of 66, Neeley doesn't back away from those notes either. A check on YouTube of recent performances shows he can still hit them.

"I'm thankful my voice still works," says the genial Neeley, who describes himself as a Texas rock and roll drummer. "I don't do anything but sing to keep it in shape, but I've always sung."

Neeley freely admits he was an unknown when cast in the Superstar film. He had appeared on the original Broadway production, but only as an understudy to Jesus and doing several small roles.

At the time, he was in Los Angeles, rehearsing for the premiere of the rock opera Tommy, where he was to play the title role. When he heard Jewison was in town doing some casting for Superstar, Neeley was determined to get an audition with him. But time was scarce because of his Tommy commitments.

Finally, Neeley was able to convince Jewison's agent to have the director come see a performance of Tommy. The only problem was the night Jewison came, Neeley wasn't on stage. At the matinee earlier that day, he'd suffered a concussion after being banged around by some chorus members in a physical scene.

"In that performance, I was the deaf, dumb, blind and unconscious kid," chuckles Neeley.

Still he was able to have lunch with Jewison, who was going back to London to finish casting Superstar.

Any bets that this show won't sell out?

It seems the Whig doesn't like the comments coming in on ticket sell-out for the Sis Elton show, perhaps it would be better just to cancel the appearance. The ticket sale debacle is a huge discredit to a great talent and a great person. Are the people running the place so stupid that they could not have anticipated this situation?

Sorry; should read "Sir" Elton.

                  


Ted Neeley in the lead role in a scene from the 2008 touring version of Jesus Christ Superstar, 
which was performed at Place des Arts.

Photographs by: Joan Marcus, From Gazette files

Jesus Christ Superstar, with music by Andrew Lloyd Webber, returns to Montreal for a two-show run at Salle Wilfrid Pelletier of Place des Arts on Saturday, May 1, at 3 p.m. and 7:30 p.m.

Ted Neeley, who last performed the role here in 2008, returns in the lead role, under the direction of Dallett Norris.

Tickets for the show go on sale Saturday, March 13 at noon. Prices will be $45, $55, $65 and $80, plus service charges.

For more information, contact Place des Arts box office at 514-842-2112 or www.pda.qc.ca or contact Gillett Entertainment Group at www.geg.ca

Click here to read Gazette Culture Critic Pat Donnely's interview with Ted Neeley before the February 2008 Jesus Christ Superstar shows at Place des Arts.

http://www.canada.com/entertainment/movie-guide/From+archives+2008+Neeley+Once+Jesus/2662077/story.html

The Gazette - 4/22/10

http://www.montrealgazette.com/mobile/story.html?id=2936347

Ted Neeley in the lead role in a scene from the 2008 touring version of Jesus Christ Superstar, which was performed at Place des Arts.

Photographed by:
Joan Marcus, From Gazette files

What do you call a superfan who has seen Ted Neeley in Jesus Christ Superstar hundreds of times?

A Ted-Head. So says Neeley, arriving in Montreal next weekend with a bus-and-truck production of Andrew Lloyd Webber's 40-year-old rock opera. The shaggy-maned performer reprises his role as Jesus for a North American tour that will have two performances next Saturday, May 1, at Place des Arts.

"I spoke with a lady two nights ago who's seen this show 366 times," Neeley says on the phone from Regina. "The folks who come the most refer to themselves as Ted-Heads."

Now 66, Neeley played Jesus Christ in the original Los Angeles stage production and the 1973 Norman Jewison film. Over the years, he has starred in numerous revivals. He stopped counting performances back in the 1990s, after they topped 2,000. Other pop-rock musicals of the period - Godspell (1970) and Hair (1967) - have dated poorly. Yet somehow, Jesus Christ Superstar retains its appeal.

The current production, with minimal set, was launched in 2006. Originally slated to finish in 2007 (and billed by some as a "farewell tour"), it continues because of popular demand, Neeley says.

On the original album, the role of Jesus was sung by Ian Gillan of Deep Purple. Recent stage "Jesuses" include Sebastian Bach of Skid Row and Swedish glam rocker Ola Salo. Most aficionados agree, however, that Neeley is the definitive Jesus Christ Superstar.

He has performed the role so long, Neeley once encountered five generations of a single family of fans. He has befriended devotees in cities throughout the U.S. and Canada.

"It's opened such an avenue of friendship for me worldwide," he says. "I feel like I can go anywhere and feel like I'm at home."

He recalls almost losing the film role that clinched his reputation.

Neeley was starring in the rock musical Tommy when he got word Norman Jewison was seeking the lead for a film version of Jesus Christ Superstar.

He invited Jewison to watch him perform in Tommy. However, Neeley was injured for that performance. Jewison ended up seeing the understudy.

To make amends, Neeley invited the director to lunch. Because he "looked like a 12 year-old" as clean-shaven Tommy, Neeley had a friend paste a fake beard to his face.

"When I sat down with Norman, you would have thought he was watching the best comedian in the world. He just fell out of his chair, laughing."

Although Jewison was polite, Neeley thought he had made a fool of himself.

Still, something about the young performer impressed the director. He later summoned Neeley for a London screen test, where he landed the coveted role.

Neeley insists playing Jesus Christ for four decades never went to his head.

"Some people envision me as that person," he says. "I let them know, 'Folks, I am just a rock 'n' roll drummer from Texas.' I'm up there playing a character."

Jesus Christ Superstar plays, in English, at Salle Wilfrid Pelletier of Place des Arts on Saturday, May 1, at 2 p.m. and 7:30 p.m. Tickets are $45 to $80 (plus service charges) and are on sale via Place des Arts - www.pda.qc.ca or 514-842-2112 - or Evenko, at evenko.ca or 514-790-2525.

© Copyright (c) The Montreal Gazette

Neeley still excited about playing Jesus Christ

Posted By WERNER BERGEN , EXAMINER ENTERTAINMENT EDITOR

Posted 23 hours ago

Why would Ted Neeley spend decades of his career playing Jesus in Jesus Christ Superstar?

"Because I love every single thing about it," said Neeley, in a telephone interview.

"Nothing is anywhere as fulfilling as this production.

Neeley, who starred in the Broadway production and in the movie created by Canadian Norman Jewison, is coming to perform in the rock musical at the Memorial Centre on Monday, May 3.

I've been a road dog all my adult life and the show has always been well received," he said.

He said the music was released on a double album in the late 1960s, became a Broadway production and then a movie.

"That's when it became a worldwide phenomenon," said Neeley.

"It was the first music video. I don't know if we inspired the world or destroyed it."

Neeley said he's done various other projects including three years in the musical Hair. "But there's nothing like this one. I can't wait to jump up there and do it again.

"It's an extreme challenge and I welcome that," he said.

Neeley credits Jewison for the success of the musical.

Jewison was filming Fiddler on the Roof in Yugoslavia and the cast included someone in the process of helping record the original album. He had a recording of the three songs he sang as Pontius Pilot and three other songs.

He had Jewison listen to them. He was so impressed he found out who had the rights and called Universal and said it should be made into a movie. Jewison then wrote, directed and produced the film.

"It's Norman who made this work, and he's been overlooked," said Neeley.

Neeley said he was approached in the 1990s to do a three-month tour, open ended to six months. "It ran for five years," he said.

"We went everywhere."

He praised Jewison for taking a young cast to Israel to film the movie and mentored everyone. It was this bonding by cast and crew that created friendships that last to this day, he said.

When Neeley was informed that the role of Jesus Christ was also played by a Peterborough native, he was surprised.

Sebastian Bach performed Jesus Christ Superstar for six months ending in April 2003.

Neeley said he didn't realize that Bach was even a Canadian, but was happy for Bach for having performed the role.

Neeley has been able to play Jesus throughout his career; in 1975, he appeared in a show with both Carl Anderson and Yvonne Elliman reprising their roles.

In 1992, Neeley and Anderson appeared in the AD Tour, touring for five years and grossing over $100 million, states his website.

March 9, 2004 Neeley sang the soliloquy Why Must I Die? from the Garden of Gethsemane scene in Superstar at the memorial service for Carl Anderson (Judas).

- - -

Show facts

What: Jesus Christ Superstar

When: Monday, May 3, 7:30 p.m.

Where: Peterborough Memorial Centre

Tickets: $48.55 to $66.50 plus charges, call box office at 743-3561 or online at

www.memorialcentre.ca

STAR 93.3.com - 5/3/10

http://www.star933.com/default.asp?pid=10950

Ted Neeley spoke with Joel about his role as lead in Jesus Christ Superstar (Peterborough Memorial Centre May 3). Hear Ted talk about the amazing circumstances that landed him the role in the Norman Jewison movie version of the stage play and much more! 

 Part 1 - click here
  Part 2 - click here

Musical ensemble member talks about life in show