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Lili · 26-12-2003, 13:17

Вот что я как-то находила по Godspell:

JCS AND GODSPELL

JCS was released as a concept recording in October 1970, toured as a concert in the summer of 1971 and opened on Broadway (the first authorized staged production anywhere in the world) on October 12, 1971.

Godspell was performed first at Carnegie Tech (now CMU) in Pittsburgh in December of 1970. It was taken to NYC and performed at the Cafe LaMama where it was picked up by producers that insisted the score be rewritten and Stephen Schwartz was brought in to revamp the score.

Both shows had concepts inspired by other works. Godspell was inspired by Harvey Cox'x book "The Feast of Fools". The book's thesis was that modern religion had lost it's sense of humor. It was no longer able to find what was whimsical about God. The inspiration for JCS's slant on the Jesus story came from the Bob Dylan song "with God on Our Side" which contained the lyrics:
In a many dark hour
I've been thinkin' about this
That Jesus Christ
Was betrayed by a kiss
But I can't think for you
You'll have to decide
Whether Judas Iscariot
Had God on his side

The purpose of Superstar was to ask questions about Jesus. It left it up to the audience to decide. Godspell's purpose was to create a feeling of joy onstage. Godspell also left decisions up to the audience. Jesus died on the cross but there was no resuurection in Godspell. Both plays left the endings open ended.

Godspell is not a play about hippies as some people state. It just happens that the play came out during the time of the hippies and people have sort of flash frozen it in their minds in that time period. The cast was meant to represent clowns dressed in motley attire.

People that think Godspell was safer than Superstar or that Superstar was more edgier weren't around the theatre scene in 1971. Rice and Webber wanted JCS to presented in the traditional robes and roman centurian costumes you'd find in King of Kings. They disliked the updating of the show. It wasn't until 1996 the Llyod-Webber produced his Lyceum version with more biblical attire. JCS had the Sunday school portrait of Jesus with the long,flowing hair and white robes. Superstar took off in America long before it was a hit anwhere else in the world. The young people of America circa 1970 could relate to Superstar on a political level. We had protesters being killed at Kent and Jackson state. It was easy to place Jesus into the role of the ubber-hippie non-violent revolutionary. Jesus and Judas became our Abbie and Jerry.

In Godspell Jesus walks out in gym shorts and clown makeup, later donning striped pants, suspenders and a Superman shirt. This was a very disturbing image of Jesus at the time. Godspell was political at the time, poking fun at Nixon or whatever current events was going on at the moment. The1973 film version sanitized the play. The image most people have of Godspell is a distorted one due to a poor film adaptation.

Godspell came in through the back door with a small off-broadway production and little fanfare. JCS roared onto broadway with a huge media blitz fueled by a best selling 2 record set. As far as succesfull stage productions, Godspell recieved far better reviews and lasted from 1971 to 1977 in New York. It played off-Broadway from 1971 until it transferred to Broadway in 1976 and closed on Broadway in 1977. It has been revived of broadway twice since then (Lamb's Theatre and St. Peter's). JCS opened on Broadway in 1971 and closed in 1973. The show received mixed to negative reviews. The negative reviews were due mostly to Tom O'Horgan's over the top production. The showed fare better when directed differently around the world. It has been revived twice on Broadway. It was given a limited run at the Longacre in the late 1970's. The production was a touring production that went aound the country featuring simple sets, but blocking borrowed from O'Horgan. Ther was the recent Glenn Carter revival at the Ford. Neither revival did well.
_________________

Сама я, правда, слышала только какие-то нетовские кусочки, показавшиеся довольно веселыми, так что, наверно, еще дозрею

А зачарованные-заколдованные

- это стоит послушать уже хотя-бы из-за Идины Мензел (не являюсь такой уж ее фанаткой, но девушка громкая и голосистая:-))

26-12-2003, 13:17	#3
Lili На форуме с: Aug 2002 Сообщений: 458	Вот что я как-то находила по Godspell: JCS AND GODSPELL JCS was released as a concept recording in October 1970, toured as a concert in the summer of 1971 and opened on Broadway (the first authorized staged production anywhere in the world) on October 12, 1971. Godspell was performed first at Carnegie Tech (now CMU) in Pittsburgh in December of 1970. It was taken to NYC and performed at the Cafe LaMama where it was picked up by producers that insisted the score be rewritten and Stephen Schwartz was brought in to revamp the score. Both shows had concepts inspired by other works. Godspell was inspired by Harvey Cox'x book "The Feast of Fools". The book's thesis was that modern religion had lost it's sense of humor. It was no longer able to find what was whimsical about God. The inspiration for JCS's slant on the Jesus story came from the Bob Dylan song "with God on Our Side" which contained the lyrics: In a many dark hour I've been thinkin' about this That Jesus Christ Was betrayed by a kiss But I can't think for you You'll have to decide Whether Judas Iscariot Had God on his side The purpose of Superstar was to ask questions about Jesus. It left it up to the audience to decide. Godspell's purpose was to create a feeling of joy onstage. Godspell also left decisions up to the audience. Jesus died on the cross but there was no resuurection in Godspell. Both plays left the endings open ended. Godspell is not a play about hippies as some people state. It just happens that the play came out during the time of the hippies and people have sort of flash frozen it in their minds in that time period. The cast was meant to represent clowns dressed in motley attire. People that think Godspell was safer than Superstar or that Superstar was more edgier weren't around the theatre scene in 1971. Rice and Webber wanted JCS to presented in the traditional robes and roman centurian costumes you'd find in King of Kings. They disliked the updating of the show. It wasn't until 1996 the Llyod-Webber produced his Lyceum version with more biblical attire. JCS had the Sunday school portrait of Jesus with the long,flowing hair and white robes. Superstar took off in America long before it was a hit anwhere else in the world. The young people of America circa 1970 could relate to Superstar on a political level. We had protesters being killed at Kent and Jackson state. It was easy to place Jesus into the role of the ubber-hippie non-violent revolutionary. Jesus and Judas became our Abbie and Jerry. In Godspell Jesus walks out in gym shorts and clown makeup, later donning striped pants, suspenders and a Superman shirt. This was a very disturbing image of Jesus at the time. Godspell was political at the time, poking fun at Nixon or whatever current events was going on at the moment. The1973 film version sanitized the play. The image most people have of Godspell is a distorted one due to a poor film adaptation. Godspell came in through the back door with a small off-broadway production and little fanfare. JCS roared onto broadway with a huge media blitz fueled by a best selling 2 record set. As far as succesfull stage productions, Godspell recieved far better reviews and lasted from 1971 to 1977 in New York. It played off-Broadway from 1971 until it transferred to Broadway in 1976 and closed on Broadway in 1977. It has been revived of broadway twice since then (Lamb's Theatre and St. Peter's). JCS opened on Broadway in 1971 and closed in 1973. The show received mixed to negative reviews. The negative reviews were due mostly to Tom O'Horgan's over the top production. The showed fare better when directed differently around the world. It has been revived twice on Broadway. It was given a limited run at the Longacre in the late 1970's. The production was a touring production that went aound the country featuring simple sets, but blocking borrowed from O'Horgan. Ther was the recent Glenn Carter revival at the Ford. Neither revival did well. _________________ Сама я, правда, слышала только какие-то нетовские кусочки, показавшиеся довольно веселыми, так что, наверно, еще дозрею А зачарованные-заколдованные - это стоит послушать уже хотя-бы из-за Идины Мензел (не являюсь такой уж ее фанаткой, но девушка громкая и голосистая:-))