- Network: NBC
- Series Premiere Date: Apr 1, 2018
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Critic Reviews
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An exhilarating production that once again revolutionized the still-evolving live musical format. Yes, the sound mix wasn’t as clean as it should be and not all the lighting design read as well on TV as well as it should have. But the final sequence of Jesus’ crucifix rising into the air to be surrounded by a larger crucifix of light was a breathtaking bit of stagecraft that blended the theater and concert aspects of the show perfectly.
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It was an overwhelming original, complete with inspired casting and staging choices.
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A conceptual and artistic triumph. ... Some technical flubs and one mixed-bag lead performance aside, the production was genuinely thrilling, taking chances with the staging of a classic but controversial Broadway show, much more daring than previous live musical broadcasts like “The Sound of Music” or “Peter Pan.”
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It turned out to be an inventively staged production of Andrew Lloyd Webber and Tim Rice’s rock-and-roll gospel, so passionately imagined that it set a new standard for this type of event.
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It was energetic (de rigeur), secular (usually is), handsomely staged (or scaffolded) and sonic (the louder the better). ... As Christ, John Legend was out-sung by Brandon Victor Dixon (Aaron Burr, “Hamilton”) who was Judas Iscariot, Norm Lewis (Caiaphas), Ben Daniels (Pontius Pilate) and Sara Bareilles (Mary Magdalene). But they out-sing everyone. Not a fair fight.
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The network wisely surrounded Legend with some spectacular theater vets, most notably Tony nominee Brandon Victor Dixon as Judas Iscariot, and Ben Daniels as Pontius Pilate. ... While Legend struggled a bit with the acting part of the gig--his non-singing expressions wavered between furrowed-brow intensity and composed serenity--the singer was a compelling vessel for Superstar’s power ballads, and his rich baritone showed remarkable stamina during the two-hour-and-20-minute production. And for an extra dose of charisma, we needed to look no further than Alice Cooper, who delivered a delicious dollop of camp as King Herod.
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Despite the quibbles, which included some spotty sound mixing, Jesus Christ Superstar Live in Concert was a pleasure throughout. The show both respected the original score while adding a present-day spin and a sense of controlled chaos that kept it all fresh.
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The show was a collision of religion and theater and pop culture that could have been one holy mess. But by the grace of God, or maybe a great cast and lots and lots of expert staging, a great musical became a great TV production.
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This version of Jesus Christ Superstar was a pulsing adrenaline rush that felt like a fizzed-up energy drink to the face.
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This was a phenomenally balanced production of Jesus Christ Superstar, in which star power was equaled by depth of feeling and characterization in all the principals. And the immediacy of television, with close-ups capable of bringing us in tight on the performers' faces, gave Jesus and Mary Magdalene a complexity that often is missing from conventional productions.
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A star arose during NBC’s Jesus Christ Superstar: Live in Concert last night. No, not singer John Legend, though he did grow into his part as the son of God in this adaptation of the Andrew Lloyd Webber rock opera, and not pop star Sara Bareilles, who was technically sound as Mary Magdalene but never seemed to find her heart. Broadway veteran Brandon Victor Dixon stole the show as Judas.
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Redeeming itself from an overblown first half and having its energy continually sapped by frequent commercial breaks, NBC’s Jesus Christ Superstar Live in Concert was saved Sunday night by its emotional climax, as Brandon Victor Dixon (as Judas Iscariot) delivered an unforgettably raucous take on the show’s title number and John Legend (as Jesus) floated away on a cross into an impressively ethereal light display.
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This musical threw together glitter, sequins, leather, writhing hotties, a few big performances pitched to the last row, and camerawork that often felt as though it was hopped up on too many lattes. Actually, the ragged edges of a unifying concept did emerge over the course of the NBC musical’s two-hour-and-20-minute running time: If its philosophy could be summed up in one word, “excess” would just about cover it. That’s not necessarily a bad thing. But this live show was a lot.
Awards & Rankings
User score distribution:
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Positive: 22 out of 46
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Mixed: 0 out of 46
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Negative: 24 out of 46
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Apr 2, 2018
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Apr 3, 2018
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Apr 2, 2018