Seriously, This player was SO ON IT, really the whole band too. Hats off to the musical director as well. They did it justice.
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I recorded it to watch later. I’ve heard it was good - except maybe a little to much crowd in the mix.
I played this show about 10 years or more ago. I played fine, but I’d love another shot at it after I’ve had some time to promote properly “age” my playing.
I played this show about 10 years or more ago. I played fine, but I’d love another shot at it after I’ve had some time to promote properly “age” my playing.
The problem with these TV musicals tends to be casting Pop Stars. John Legend is not an actor, so he didn't bring much in that regard. His vocal tone is not super versistle, so the rock stuff was subdued, but his take on the softer lower stuff was the best I've heard. I thought Judas seemed blasé for the first half, but really stepped up for second half. I thought that every member of the supporting cast was fabulous. And Mary... Dang!
There was too much crowd in the mix, but it was fully intentional as the crowd was used as a cast member; visually present and active in many scenes. I thought it was good direction.
There was too much crowd in the mix, but it was fully intentional as the crowd was used as a cast member; visually present and active in many scenes. I thought it was good direction.
I'm going to disagree w/ OP: I thought the bassist came up a little short ...although, in fairness my perception of what a bassist should be doing with that material is based on having been the pit bassist for the European tour of that show for 6 weeks in 1988, and immersing myself in the original cast album (which is how I prepared for the aforementioned tour). And I guess I shouldn't begrudge the arrangers for trying something new/different.
But while I was on the fence for most of the show about whether last night's bassist was Killing It or just Getting The Job Done, the nail in his coffin was during Judas' "Superstar" number...during the chorus, where the bass starts out doubling the melody and then plays a contrapuntal line against "who are you? what have you sacrificed?" last night's guy seemed to completely forget that the counterpoint line is still a melody, and his phrasing/articulation took on a stilted, almost remedial quality rather than the fluid, expressive quality that line demands. It was really conspicuous to me, and just sounded horribly wrong.
Don't get me started on what I thought of last night's cast!
But while I was on the fence for most of the show about whether last night's bassist was Killing It or just Getting The Job Done, the nail in his coffin was during Judas' "Superstar" number...during the chorus, where the bass starts out doubling the melody and then plays a contrapuntal line against "who are you? what have you sacrificed?" last night's guy seemed to completely forget that the counterpoint line is still a melody, and his phrasing/articulation took on a stilted, almost remedial quality rather than the fluid, expressive quality that line demands. It was really conspicuous to me, and just sounded horribly wrong.
Don't get me started on what I thought of last night's cast!
I'm curious to listen again to the passage you're detailing. I wasn't focusing too much on the bass throughout the performance, I imagine if I had been a touring player with the show I would have been.
That must have been a fun gig!
I had very very low expectations going in, so my overly gushy opinion is a product of that. I haven't gone over it with a fine tooth comb, but overall, with the exception of Legend's shortcomings, It made me happy. I'll certainly give their studio recording a listen, I do believe the 1970 recording is quintessential.
If you want to vent about the cast I'll listen
That must have been a fun gig!
I had very very low expectations going in, so my overly gushy opinion is a product of that. I haven't gone over it with a fine tooth comb, but overall, with the exception of Legend's shortcomings, It made me happy. I'll certainly give their studio recording a listen, I do believe the 1970 recording is quintessential.
If you want to vent about the cast I'll listen
I made it maybe 20 seconds in and had to stop. Something about musical theatre that is just super cheesy to me. The performances are always overdone and just seem like they're trying so hard. Yes, the musicians are great, but the performers (not John Legend, but the others) just make me cringe!
I have that same reaction to most musical theater, JC Superstar is one of the few exceptions where the music is good enough I can override my disgust at the mawkishly overdone acting. The only other musical I've found I can tolerate is "Sweeney Todd", so I guess it's the excessive fake "cheerfulness" that I find offensive (not so much of that in these two works).
So did anyone catch the name of the bassist? I really loved the show, aside from the commercial interruptions (but fully understand that bills have to be paid) and the volume of the crowd mics (its not necessary to cheer for EVERY high note, just enjoy the music sometimes?). I thought everyone did a great job though. Nothing will ever measure up to the original but I do like the take they did on it last night.
I was trying to find the bassist's name because I thought he looked like someone I know through some other musicians but can't seem to find it.
I was trying to find the bassist's name because I thought he looked like someone I know through some other musicians but can't seem to find it.
So...you thought the cast was great?Don't get me started on what I thought of last night's cast!
Loved the production. Back when I attended bass school with the t-rex, (summer of '71), I was part of a production group that did a jcss live production. Brought back some fond memories. The MM songs were great, the production brought tears of joy to my eyeS.
Our band had a problem that the line production did not have. (the band's music was stolen during set up.
Hats off to the crew, the musicians, the singers, the extras and of course both the upright and other bass players,
Got to love the string quartet that opened the show
Our band had a problem that the line production did not have. (the band's music was stolen during set up.
Hats off to the crew, the musicians, the singers, the extras and of course both the upright and other bass players,
Got to love the string quartet that opened the show
I enjoyed the production. I thought the bassist was playing his ass off!
Alice Cooper stole EVERYTHING!
Cool stage/set.
'Loved the "vertical" string orchestra.
The crowd noise was somewhat annoying.
Mary Magdalene (Sara Bareilles) was the best by far.
Alice Cooper stole EVERYTHING!
Cool stage/set.
'Loved the "vertical" string orchestra.
The crowd noise was somewhat annoying.
Mary Magdalene (Sara Bareilles) was the best by far.
He was such a ham - I didn't appreciate him delaying the show so he could have his moment with the crowd, though - unprofessional and unnecessary.
That's part of the character, he was giving high fives to cast members at the front of the stage, and showing that he wants to loved by the people. I was glad they didn't do Herod as an Elvis impersonator or the like - I've seen it like that and it was embarrassing.
I love music.
I love acting.
And I believe the two should never meet because when they do, it makes for the most awful, phony cheese in all of entertainment.
Dramas and comedies where the cast sings their lines? That kind of ridiculousness should've ended with Elvis movies.
Unfortunately, it did not.
It was a pretty interesting interpretation. The arrangements definitely got slimmed down and modernized. Mostly to good effect. I'm not sure I liked this one the best (I've seen most of the major productions over the years) but it was definitely a good performance. The multi talented Sarah Bareilles as Mary Magdalene was quite good. Not quite up to Yvonne Elliman vocally (very few are), but her acting ability was spot on. And the staging was absolutely brilliant. Full points to the production designers.
I get the feeling this production will take it's share of awards come year end.
I get the feeling this production will take it's share of awards come year end.
The song was put in there for a little comic relief I'd think.
The role is intended to be hammed up and over the top a little. And I think that moment with the crowd was intentionally planned and done as part of the show. If historic accounts are to be believed, Herod was a bit of a vulgarian, showman and glory hound. So promenading and playing to the crowd would be in absolute keeping with Herod and other rulers of the time. (And more recently too it seems.
)
Having played a ton of musical theatre gigs, I’m SURE the bass player wasn’t improvising. I thought he played the score accurately and with authority. He and the keyboard player(s) were the highlight of the “pit” orchestra in this production! Drummer was no slouch either!I'm going to disagree w/ OP: I thought the bassist came up a little short ...although, in fairness my perception of what a bassist should be doing with that material is based on having been the pit bassist for the European tour of that show for 6 weeks in 1988, and immersing myself in the original cast album (which is how I prepared for the aforementioned tour). And I guess I shouldn't begrudge the arrangers for trying something new/different.
But while I was on the fence for most of the show about whether last night's bassist was Killing It or just Getting The Job Done, the nail in his coffin was during Judas' "Superstar" number...during the chorus, where the bass starts out doubling the melody and then plays a contrapuntal line against "who are you? what have you sacrificed?" last night's guy seemed to completely forget that the counterpoint line is still a melody, and his phrasing/articulation took on a stilted, almost remedial quality rather than the fluid, expressive quality that line demands. It was really conspicuous to me, and just sounded horribly wrong.
Don't get me started on what I thought of last night's cast!