Episode cast overview, first billed only: | |||
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Glenn Carter | ... | Jesus of Nazareth |
Jérôme Pradon | ... | Judas Iscariot (as Jerome Pradon) | |
Renée Castle | ... | Mary Magdalene | |
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Fred Johanson | ... | Pontius Pilate |
Rik Mayall | ... | King Herod | |
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Frederick B. Owens | ... | Caiaphas |
Michael Shaeffer | ... | Annas | |
Tony Vincent | ... | Simon Zealotes | |
Cavin Cornwall | ... | Peter | |
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Pete Gallagher | ... | First Priest (as Peter Gallagher) |
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Michael McCarthy | ... | Second Priest |
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Philip Cox | ... | Third Priest |
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Matt Cross | ... | Apostle / Ensemble (as Matthew Cross) |
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Kevin Curtin | ... | Apostle / Ensemble |
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Paul Vickers | ... | Apostle / Ensemble |
The Passion of Jesus Christ as seen through the eyes of Judas. This popular rock musical is based on the 1996 London/2000 Broadway revivals of the show, directed by Gale Edwards. Re-orchestrated and set to modern times, it is not the Superstar of the 70's but rather one for the 21st Century. Written by Anonymous
An interesting production, with a more "modernized" style (which was deliberate on the producers' and director's part, if you watch the post-tape "making of"). All the musical numbers are there, and that's always the strongest part of any JCS production. Glenn Carter is mostly harmless. Jerome Pradon gives it all, but no one seems able to decide exactly what his character's motivation is. He ranges from sarcastic and demeaning towards Jesus early on, towards a more "tortured" aspect as he is drawn into the betrayal.
Fred Johanson and Renee Castle are probably the strongest consistent performers throughout. Rik Mayall seems weak as Herod, apparently cast here more as a novelty than anything. The Herod scene also demonstrates one of Carter's problems: he seems incapable of reacting here, almost unsure of _how_ he's supposed to be reacting, like Pradon throughout. Carter seems more concerned that he'll be stepped on by the Herod dancers then the fact he's on trial for his life.
The staging is well done. The costuming is somewhat debateable. Okay, they wanted to update for the 21st century, but do we really need Roman guards dressed like Darth Vader and Pharisees dressed like Cenobites from Hellraiser? There's a curious de-emphasis on dancing and choreography: only the Herod piece is really strong here. The "Simon Zealotes" and "Jesus Christ Superstar" numbers are irritatingly static.
None of this really gets in the way of enjoying the core songs and book, however. I'd recommend it if you're a fan of Rice & Webber.