Dad

"Passing bells and sculpted angels, cold and monumental, seem for you the wrong companions. You were warm and gentle."

I'm "working through the unimaginable," to quote Hamilton.

When I was a kid living in the Philippines, my brother Tim introduced me to Broadway musicals. I particularly remember us listening to The Phantom of the Opera on repeat. Sometimes we had to take the cassettes out of the tape recorder and wind the film back into the cassette because it got tangled in the tape recorder. They played "Good Morning" from Singin' in the Rain every morning on the radio, and we taped it, along with other songs like "Put on a Happy Face" from Bye Bye Birdie. We listened to Broadway and Christian music all the time. (My mom got tired of the screams in Phantom of the Opera.)

Through it all, my dad, an avid sports fan, who once dreamed of raising a softball team, encouraged his two sons in our love of music. Neither of us were particularly into sports as he had hoped, but he didn't press us to do something we wouldn't like. (Though we have enjoyed attending baseball games together, and Tim and I have attended a lot of rugby games since the Seattle Seawolves started a couple years ago.) My dad paid attention to our interests and encouraged them. He enjoyed Phantom and other musicals with us. We watched the classic movie musicals as a family. I lost count of how many times we watched The Sound of Music, Fiddler on the Roof, and others. Someone gave us the animated musical of Gulliver's Travels ("Aaaalll's well! It's a hap-hap-happy day!") and we watched that video many times. So many happy memories. 

Every play, musical and concert in school, my dad was there rooting us on. Tim played Captain Corcoran in HMS Pinafore in high school. I would later be in a Disney revue and Oklahoma! when I was in high school. In college, Tim was in a community theatre production of Carousel, and I would later be in South Pacific in a different community theatre group. We both were in Oliver! Tim was in a lot more community theatre shows than I was. I was also in several plays, such as Arsenic & Old Lace, The Curious Savage, You Can't Take it with You, and others. My dad cheered us on and constantly encouraged us. My parents enthusiastically joined our church choir when my brother joined, and when Tim later started directing it. I also participated.

My dad and I also enjoyed watching adventure movies together, such as Lord of the Rings, Pirates of the Caribbean, Master and Commander, Star Wars, and others. We enjoyed discussing them.

For Tim's 30th birthday, my parents treated us to a nearly-lifelong dream of watching The Phantom of the Opera in its national tour when it came through Seattle. Years later, on my 40th birthday, they told me I could name the musical and we would go. It took nearly a year for the right musical to come through Seattle, but we went to Come from Away as a family. We couldn't know it would be the last show we would see together as a family of four.

Last month, my dad was watching football when he had a stroke. We called 911, and he was rushed to the hospital, then transferred to another one a little further away. A week and a half ago, he was put on comfort care, and we rushed to the hospital, where Tim and I both got to talk to him individually and thank him for being a truly amazing father. The next morning, he was gone. We got the call in the middle of the night and rushed back to the hospital. He had been gone nearly an hour when we arrived.

It seems unreal. Just a month ago, he was relatively healthy. Now, he's gone. It's hard to take in. The past week and a half we have been involved in arrangements and so much other stuff involved in losing him. While I'm currently doing better than I would have expected, the grief has been up and down. I'm sure it will intensify as the burial makes it more real.

My mom commented he will have a better Christmas than we will. I rest in the assurance that he is in a better place, with no more pain, completely healed. That is a big help. But I find myself "wishing [he] were somehow here again." I regularly think of a question to ask him or want to share something with him that he would enjoy, only to realize that can't happen. As of a couple weeks ago, he was the only person I had bought Christmas presents for so far.

I remember the amazing man he was, and I think of how much I took for granted when he was with us. So many times I have heard people who have lost a loved one beg their friends to treasure their loved ones while they are here. That never really sank in for me until the past few weeks. I've always appreciated him, but I do now more than ever, and I wish I could tell him.

Several songs have resonated with me in ways they haven't in the past. Josh Groban's rendition of "To Where You Are" has helped. "Here Comes the Sun" by the Beatles. Several hymns, such as "It Is Well" (which was written by a father who had just lost his daughters in a shipwreck). The worship song "We Will Dance". My friend Clay Crosse's rendition of "Time to Believe". "Wishing You Were Somehow Here Again" from The Phantom of the Opera. "Bring Him Home" and "Empty Chairs at Empty Tables" from Les Mis (another cast recording my brother and I played over and over in the 80s and 90s). Multiple songs from Come from Away. "Proud of Your Boy" from Aladdin. "Endless Night" and "He Lives in You" from The Lion King. "All the Wasted Time" from Parade. "It's Quiet Uptown" from Hamilton. "The Honor of Your Name" from The Civil War. Multiple others.

Thank you to everyone who has been so supportive, even not knowing what was going on. You have been a major encouragement to us.

More Musical Clickbait

I don't like clickbait any more than I did when I wrote the previous blog about musical clickbait. But I still like to make fun of it. Here are some more headlines for you. (Note that not every headline is 100% accurate. That is intentional.)

They land in a small town in Canada. But they weren't expecting THAT MANY planes at the airport or THAT welcome! We're CRYING!

His therapist told him to write himself a letter. You WON'T BELIEVE what happens when people read it! Share. Like. Spread this EVERYWHERE!

Ex-nun helps decorated naval captain and his seven children DEFY orders from his superiors!

I've been wrong all this time! THIS is why the Lord created men!

You won't believe how this con man seduces this librarian!

38 planes that landed in Gander that day (and 21 that landed in St. John's)

She decides to marry her boss. What happens next will make you sing!

Her ambitions as a writer are ASTONISHING!

They put out the call for help. When Brooklyn responds? I'm SHOCKED!

Displaced by a TORNADO, she uses THIS WEIRD TRICK to get home!

They just ease on down the road to reach their goal!

Jealous uncle USURPS the throne! What happens next? Hakuna matata!

10 guys who want to BRING DOWN the Sharks (and 10 who want to bring down the Jets)

Dear Steven Sauke

Dear Steven Sauke,

Today is going to be a good day, and here's why.

I went to see Dear Evan Hansen this past Friday on its national tour. It really got me thinking about how I treat the people around me. While I endeavor not to resort to bully tactics like Connor, my integrity is far too important to me to lie like Evan or betray confidences like Alana, and I hope I don't put conditions on helping others (or encourage dishonest behavior, or neglect to keep my mind out of the gutter) like Jared, I can see myself in several of the characters.

I remember my first day in 8th grade, at a new school in a new country, standing in a hall full of strangers hugging each other and greeting each other excitedly after a summer of missing each other. It was like I was "waving through a window," too scared and shy to talk to others. But I made friends that year. Some of them are still friends today. People teased me about my old-fashioned clothes (stripes were out of fashion, but I was not to know that, having recently returned from the Philippines). Classmates teased me about not knowing common American phrases like "The King is dead." (I only found out at the end of the year they were referring to Elvis and not Jesus.) A classmate wrote on my jacket in pencil, and when I tried to erase it, it wouldn't erase. I had to get a new jacket. As I progressed through high school, my classmates and I matured, but we were still typical teenagers. (Well, I've never been especially typical, but you know what I mean.)

I think about the way Connor and Evan treated their families. 

Connor's parents and Evan's mother were trying their hardest to raise their children, and kept coming across roadblocks and complications. Connor treated his family so poorly that his sister Zoe couldn't remember one good thing about him, and though his mother Cynthia insisted there were good things, she couldn't name one. Larry Murphy tried to provide for his son and teach him, but he didn't listen or seem to care. Please, let me never inspire my own dad to lament, "I gave you the world, and you threw it away!" 

Heidi Hansen did everything she could to provide for her son, while dealing with her own pain of the divorce ten years earlier, and her ex-husband moving on and starting his own family. She worked at the local hospital and took law classes, and even though she wasn't as available for her son as either of them would have preferred, she still made time for him. But he didn't truly appreciate it. He even lashed out at her when she made time for him, and he kept important things from her in an effort to cover up his lies. She learned major things about her own son on social media. Stuff he never told her.

Larry, Cynthia and Heidi all made sacrifices for their children, and they still felt like failures at times. That's part of being human. I don't consciously lie to people, but how many times have I withheld details that would have been important to someone who loves me and wants to help?

I guard my integrity jealously. It is one of my most deeply-held values. But, as with anyone else, it can always use improvement. Too often I take my family's love and sacrifices for granted, and I don't show the appreciation they deserve. At my current job in customer care, we have to deal with the fallout of salespeople's overpromises at times. How many times have I made a promise in other areas of life, and either come up short or forgotten to follow through? How can I learn from those experiences?

My family and friends are precious to me. I love them dearly. But sometimes I come up short and need "a little reinvention" (but in a more honest manner than the context of that quote in the musical). How can I reinvent myself rather than the facts? I'm thankful I have God and respected relatives and friends to help me with that!

The Connor Project was an amazing, important idea. We need more projects like that to remember people who were forgotten, to reach out to people who feel invisible and unloved. We need to remind them that they will be found. They are loved deeply. They are valuable. But we can't found these initiatives on lies. Good may come of it, but the guilt and torture lies can unleash is harmful.

As for the performance, set, and technical details, I thought it was amazing. The things they did with lighting, the way they showed texts, essays, Facebook posts, YouTube videos, e-mails, and more, was incredible. With all the social media going on onstage, I didn't even realize until the end of the show that there were only eight people in the cast! Noah Kieserman was fantastic as Evan, and I would have never guessed he was an understudy. Particularly since it was his face in the videos onscreen replaying his speech. (It was clearly not filmed live, as there's a curtain behind him in the videos, but not when he's giving the speech.) They must have videoed all the actors and understudies doing that scene in front of a school auditorium curtain. Everyone - cast, crew and orchestra - nailed their parts. The orchestra was on a balcony above the stage, and there were seats for audience in the orchestra pit. As is evident from my thoughts above, I came away thinking about how I can be a better, more appreciative person. So much in the show is relatable.

I have the most amazing parents and brother I could possibly imagine. I have several close friends that I consider siblings. I also have a lot of amazing friends that I don't consider siblings, but still love and respect deeply. How can I express more how much I truly love and appreciate them? I have been so blessed with such an amazing family, incredible friends, awesome coworkers (who are also friends), and so much more. May I never neglect to remind them how loved, respected and valued they are.

"Even when the dark comes crashing through

When you need a friend to carry you

And when you're broken on the ground

You will be found."

Sincerely,

Me

Graphic at the top generated from https://dearevanhansen.com/newyears/

The Rise of French Musicals

I wrote this paper in college based on research on French musicals. Note: Les Parapluies de Cherbourg (1964) predates La Révolution Française (1973), but I was unable to find much information on it at the time. The paper stated that La Révolution Française was France's first musical. I have corrected that detail for the purposes of this blog. I have made a few other small tweaks, but that is the most important one. I have also added a few comments in [square brackets], mostly to clarify facts that were current in 2000, but may or may not still be current.

~~~

THE RISE OF FRENCH MUSICALS

by Steven Sauke

February 24, 2000

For 134 years, America has had musicals. Great Britain has had them for a much shorter time, but in both nations,  particularly on Broadway and London's West End, they have become immensely popular. Relatively recently, another nation has entered the realm of writing musicals. This paper will discuss the rise of musicals in France, starting from the early heritage long before the musical, as we know it today, was invented, and coming up to the present, as the most recent French musical has possibly started to change the formerly negative views of the French toward the art form.

In the 17th Century, Molière wrote his plays, which had an influence on today's musicals. He started writing plays which required more talent than in the past. He used satire. For example, certain of his characters were easily recognizable as specific real people. More importantly, he put music in his plays. In all but one play, he worked with composer Jean-Baptiste Lully to make a musical play. In such plays as The Bores (1661), Monsieur de Pourgeaugnac (1669) and Le Bourgeois Gentilhomme (1670), they used the harpsichord as the principal instrument (Flinn 44) with 5-string instruments, bassoons, flutes and oboes (Flinn 45).

In the early 19th Century, composers in Italy started to incorporate speaking lines in their operas, thus creating a new genre of opera, called opera buffa in Italian. This kind of opera soon became quite popular in Paris, where it became known as opéra bouffe or opéra comique. Donizetti's The Daughter of the Regiment was particularly popular in Paris in 1840. Many composers started writing "light" (one-act) operas, and the operetta was born (Citron 33). The first was Jacques Offenbach's Orphée aux Enfers (Orpheus in the Underworld). As Stephen Citron states in his book The Musical from the Inside Out, "Gone were the tragic arias and the high drama; they were replaced by shorter, wittier, less florid songs. Lively dance, (in this particular work, the famous can-can) displaced arty ballet" (33). In 1858, a government-sanctioned limit of one act and two roles on operas was lifted, and the operas and operettas got longer (Flinn 59-60).

The composer Hervé wrote musical plays to perform as therapy for the inmates of the Hôpital Bicêtre. He was so well received that he was appointed conductor at the Théâtre du Palais Royal, and he soon began to write longer plays. During that same time period, his colleague Offenbach wrote his first two-act musical play Orphée aux Enfers, which we have already mentioned. It became immensely popular in Paris. He worked with Henri Meilhac and Ludovic Halévy, who Denny Flinn calls in his book Musical! A Grand Tour "the first legitimate librettists" (61). In the past, the composer had written the lyrics as well, but that was now done by Meilhac and Halévy. They wrote "solos, duets, trios, quartets, chorus scenes, and dances" (Flinn 61). In his 25 years of composing, Offenbach wrote over 90 operettas, many of which had a political focus.

With the end of Offenbach's composing years came a new rising star in the composing field. Charles Lecocq started writing romantic operetta, and soon the Parisians decided they liked amour better than politics and satire in their operetta (Flinn 61).

Opera and operetta continued with Wagner's record 16-hour Der Ring des Nibelungen, written between 1853 and 1874 in Germany (Flinn 66) and Gilbert and Sullivan's numerous operetta, among them H.M.S. Pinafore, The Mikado and The Pirates of Penzance, written in England approximately between 1875 and 1896 (Flinn 67-77). Some of Gilbert and Sullivan's operetta were performed in the United States, and soon a new genre was born: the musical.

In 1866, a melodrama by the name of The Black Crook was performed in the US, and it was received poorly. A new idea came about. Maybe if they were to add music and dancing, it would be more popular. Groseppi Operti arranged the music, wrote some of it, and collected the rest from music stores. They arranged dances and planned a big spectacle (Flinn 81-82). Now all they needed was dancers. Enter the French. Yes, the French were involved in America's first musical. A troupe of Parisian ballerinas were on board a ship for the US to perform a ballet at New York's Academy of Music. Unfortunately for them, the theater burned down while they were on the ship, and when they arrived, they had no place to perform. However, this fire and the displaced French troupe turned out to be fortunate for the people who were working on The Black Crook. It now had dancers, and the French dancers had The Black Crook, a chance to show off their footwork for the Américains (Citron 38). The 5½ hour musical was a hit (Flinn 82). Sure, the Church blasted it (rightly so, in my opinion) because of nudity or near nudity, but the United States had succeeded in inventing a new kind of play. Thus was born the musical (Flinn 84). More musicals followed, the next popular one being Show Boat in 1926 (Flinn 175).

For several decades, the US was the only nation who was doing musicals, until Great Britain started to follow suit in the 60s with such musicals as Oliver! by Lionel Bart and the original version of Joseph and the Amazing Technicolor Dreamcoat by Andrew Lloyd Webber.

The 70s brought the rock operas, a new kind of musical. In England, Andrew Lloyd Webber wrote his popular musical Jesus Christ Superstar, while in France, two men by the names of Alain Boublil and Claude-Michel Schönberg composed their first musical, a rock opera: La Révolution Française.

La Révolution Française

Boublil and Schönberg's first work was also one of France's first musicals, and it was quite popular in France. It was the story of the revolutionary young Charles Gauthier and his growing love for Isabelle de Montmorency, a member of an aristocratic family during the turbulent French Revolution. Gauthier fights alongside Robespierre, Danton and Marat, and all the while he is growing fonder and fonder of Isabelle. Isabelle's family is banished from France because they are aristocrats, and the lovers are thus separated. Charlotte Corday's assassination of Marat starts the Terror, in which the Revolutionary Tribunal sentences hundreds of innocent people, including Queen Marie Antoinette, to the guillotine. Among those sentenced is Charles Gauthier. Isabelle returns from exile to find her lover in prison, and she is also condemned to death because she, an aristocrat, returned (Taylor).

La Révolution Française, "the first-ever staged French rock opera in Paris (Les Misérables CD-ROM), brought Boublil and Schönberg together as composers, and it was a big hit in France. Such was the beginning of a new age of musicals in France, though it continued to be slow in taking hold.

Starmania/Tycoon

La Révolution Française came out in 1973, and six years later came another rock opera, this time by Luc Plamondon and Michel Berger. They called it Starmania. It too was quite popular, and the composers, Plamondon in particular, have been making changes to it ever since it came out in 1979. New versions came out in 1986 and 1988. It premiered in Moscow in 1990, and the English version, translated by Tim Rice and renamed Tycoon, came out in 1992. In 1993, a newer French version of Starmania came out in Paris (A. Lee). Some songs from it have been recorded by such artists as Celine Dion (Starmania). Certain songs from it became quite popular in the 1980s, such that Tim Rice commented that it was "a hit show in a city infamous as a graveyard for musicals." We shall see more of this side of Paris' ideas of musicals later.

Starmania's plot goes like this: Monopolis, a futuristic city, is being terrorized by the underground group Les Étoiles Noires (The Black Stars), led by Johnny Rockfort, who is led by Sadia, a revolutionary student. They meet in the Underground Café, where Marie-Jeanne is a waitress.

A man named Zero Janvier is running for president of the Occident, and he is against the Étoiles Noires.

Sadia and Johnny Rockfort are in love, and Marie-Jeanne falls in love with Ziggy, a celebrity hunk. Cristal, a reporter on the TV program Starmania, interviews Johnny Rockfort and Zero Janvier, and she falls in love with both men, though much more so with Janvier. Janvier, meanwhile, gets engaged to a movie star named Stella Spotlight, while Rockfort and Cristal fall more in love with each other.

Cristal and Rockfort make plans to plant a bomb at the disco parlor where Janvier and Spotlight are planning to get married, but Sadia gets wind of the plan and tells Janvier. Ziggy abandons Marie-Jeanne in favor of acting and being a disco DJ. The followers of Janvier, on Sadia's warning, arrest Rockfort and kill Cristal. Janvier is elected president (Il se passe..., L'histoiremania, Valentine).

Both La Révolution Française and Starmania, though vastly different in setting and story line, were about love, and both were tragedies. These two musicals seemed to set a precedent for musicals to come, a precedent that came from French literature and opera from time immemorial. So much of France's literature and art is based around love and tragedies. For that matter, French is stereotypically known as the "language of love," and Paris is often called the City of Lovers. It only fits that France's musicals would follow that pattern.

Starmania opened in Paris in 1979, and the next year, another musical, Boublil and Schönberg's second, opened, also in Paris. This musical was to become their greatest success until then, and quite possibly their greatest success even today, but not in Paris.

Les Misérables

Les Misérables is a very complex musical, whose plot spans about thirty years. Set in the early to mid 19th Century, it is the story of an extraordinarily strong thief named Jean Valjean who escapes parole and turns his life around, becoming the mayor of a small French town. When the policeman Javert sees Mayor Madeleine (the name Valjean has taken to protect his identity) lift a heavy cart, he is reminded of Valjean, who he believes has just been caught. After Javert tells Madeleine about the recent arrest, the latter proves to the court that he, not the accused, is Valjean.

Meanwhile, a woman named Fantine has been working in Madeleine's factory to support herself and her illegitimate daughter Cosette, who lives at an inn where she, unbeknownst to Fantine, is being abused miserably. When Fantine's coworkers discover she has an illegitimate child, she is fired and forced onto the street, where she sells her locket and her hair, and in desperation, falls into prostitution. When she scuffles with a potential customer, she is arrested by Javert and rescued by Madeleine, who takes her to the hospital, where he promises that he will raise her child. As soon as she dies, Javert arrives to arrest the mayor, who he now knows is Valjean. The latter escapes to the inn of the Thénardier family, where Cosette lives, to pick up the girl.

Nine years later, Cosette is a young woman who is falling in love with the revolutionary Marius. When Thénardier, Cosette's one-time abuser, attempts to rob Valjean's house, Valjean assumes that Javert has found where he is hiding, and he resolves to move, which would separate the two lovers, as his daughter must go with him.

Marius and his student friends are growing more and more angry with the plight of les misérables, Paris' oppressed poor, and they break into fighting. Valjean is given the chance to kill Javert, but instead, he lets him go. In the process of the battles on the barricade, all of Marius' friends are killed, and he is seriously wounded. Valjean carries him home to Cosette. Meanwhile, Javert, thoroughly bewildered by Valjean letting him go, commits suicide. After Marius rehabilitates, he marries Cosette, but their happiness is interrupted by the impending death of Jean Valjean, now an old man (Choi).

Following the pattern of its predecessors, Les Misérables is a tragedy about love. Valjean's love for his daughter leads him to save the life of her beloved, and their romance is rewarded by a marriage. However, the heroes on the barricade, Marius' friends, are killed near the end, and at the very end, Valjean is dying.

Les Misérables began Boublil and Schönberg's collaboration with British producer Cameron Mackintosh, who has produced the English versions of their more recent musicals as well. It opened on London's West End in English in 1985, and it soon opened on Broadway. At present, it has been performed in fifteen languages in twenty-three countries, and it is Broadway's second longest running musical (R. Lee). Though it has been phenomenally popular around the world, I have found little evidence of strong popularity in France itself. I have seen the Original French Concept Album around, and in France, I saw that there was a recording of the current French version. It sold 250,000 tickets in Paris in the space of seven months (Brambilla). Beyond that, I have seen no mention of any popularity in France. Perhaps that is why Tim Rice called Paris "a city infamous as a graveyard for musicals." One thing I do know is that Boublil and Schönberg moved to London, because, as Boublil stated, "France is still back in the old operetta tradition of the 1930s" (Citron 17).

Miss Saigon

In 1989, Boublil and Schönberg came out with another musical, which was again a big hit in London and on Broadway. Like previous French musicals, Miss Saigon is a romantic tragedy, and like Boublil and Schönberg's previous musicals, the lovers are forced to part due to circumstances beyond their control. Also like their previous musicals, it is set during a time of war. This musical is set in the former French protectorate of Vietnam in the mid to late 1970s. Miss Saigon is the story of a Vietnamese teenager named Kim who is orphaned in attack on her village in the countryside in 1975. She must come to the big city of Saigon, where she falls in love with an American Marine named Christopher Scott. They go through a Vietnamese wedding, and he plans to take her home with him. Meanwhile, Saigon falls, and the Americans are evacuated. Chris and Kim are separated, and neither can get to the other. Chris is forced to board the last helicopter out (which they actually manage to get on the stage).

Kim waits three years for Chris to return for her, during which time she bears a son who she names Tam. Chris, meanwhile, thinking he will never see Kim again and having no idea that he has a son, marries an American woman named Ellen. When Chris' friend John discovers that Chris and Kim have a Bui-Doi son (Vietnamese for "the dust of life," the Bui-Doi were children of American soldiers and Vietnamese women conceived during the war), he tells Chris and suggests that Chris and Ellen go to Bangkok, where Kim has fled for her life, to try to resolve this problem. When Kim finds out that her husband has married another woman, from none other than Ellen herself, she is thunderstruck. Ellen refuses her pleas to take Tam to America because Ellen believes that a child belongs with his mother, and, as a last resort to force a better life for her son in America, Kim shoots herself, thus severing all ties of Tam with Vietnam, and Asia in general. She dies in Chris' arms (Story).

Miss Saigon is the longest running show at London's Theatre Royal on Drury Lane, and it has been performed in twelve countries (Dixon). I can only assume that France is one of those countries. It was originally written in French, but I have been unable to locate a French recording or even any lyrics. Even in France, the only recordings of it that I saw were in English. In short, I have found no evidence of popularity in France, thus reinforcing Rice's claim of Paris being "a graveyard for musicals." It qualifies as a French musical because it was written and composed by Frenchmen, and it follows the aforementioned patterns of French musicals.

Martin Guerre

Several years later, Boublil and Schönberg came out with their newest musical to date [as of 2000, when this paper was written]. Martin Guerre is about a 16th Century 14-year-old named Martin from the small village of Artigat, France, who is forced to marry, and when he refuses to consummate his marriage, he gets blamed for a series of storms, and the priest whips him in an attempt to exorcise the demons that are supposedly keeping him from consummation. Feeling he can trust nobody, he flees to fight in the Religious Wars. On the battlefield seven years later, he is seriously wounded, and his friend Arnaud du Thil leaves him for dead and goes to Artigat to tell Bertrande, Martin's wife, of his demise. The people of Artigat mistake him for Martin, and welcome him warmly. Bertrande convinces him to take Martin's name, and he reluctantly agrees, but the townspeople eventually realize that he is not Martin. By this time, Bertrande is expecting a child by Arnaud. Arnaud goes to trial in Toulouse to settle the matter, and as the judge is about to make his ruling, a new witness enters the court: the real Martin Guerre. The judge rules that Arnaud go to prison until Martin decides his fate. When Martin frees his friend, Guillaume, a jealous suitor of Bertrande, murders Arnaud (Martin Guerre).

Martin Guerre has received rave reviews in London, and it is currently nearing the end of its first run in the United States [as of February 2000]. Its Broadway debut has unfortunately been indefinitely postponed due to the lack of a theater. Once again, I have found no sign of popularity in France. I did not even find any English recordings of it in France.

Martin Guerre is, like its predecessors, a romantic tragedy. True to its Boublil and Schönberg predecessors, the hero and heroine are separated due to circumstances beyond their control, as we have seen.

Though Martin Guerre has not, to my knowledge, been very popular in France, the next French musical has blown all of its predecessors out of the water.

Notre-Dame de Paris

"The Americans adore it. The English too. In the Francophone countries, the musical was received without conviction, until... Notre-Dame de Paris!" (Brambilla) Except for Starmania and La Révolution Française, the previous French musicals that really took hold, took hold in England and America, and elsewhere around the world. Not so much in France. It seems that the brand new musical Notre-Dame de Paris is changing all that.

Where all other French musicals have failed, Notre-Dame de Paris has finally succeeded in interesting the French in musicals. Luc Plamondon, of Starmania fame (as well as a couple other musicals which I have not mentioned), teamed up with the Italian-French Richard Cocciante to musicalize Victor Hugo's novel of the same name as the musical (known in the US as The Hunchback of Notre Dame).

As Patricia Brambilla encapsulizes the plot in her article Les clés d'un succès monumental ("The Keys to a Monumental Success"), "The priest Frollo and Quasimodo, the hunchback, love the Gypsy Esmeralda, who burns for the soldier Phoebus. Who is attracted by Esmeralda, but promised to Fleur de Lys..."

Notre-Dame de Paris, set in 15th Century Paris, is about Quasimodo, who grows up in the belltower of Paris' Notre Dame Cathedral (known in French as Notre-Dame de Paris, or Our Lady of Paris), where he becomes the bellringer. The Archdeacon Claude Frollo has raised him from childhood. Frollo is so enamored by the young Gypsy Esmeralda that he stabs Phoebus to keep him from loving her. When Esmeralda is arrested and brought to Notre Dame for supposedly murdering Phoebus, Frollo offers that he will free her if she will consent to him loving her. She is repulsed. Quasimodo helps her escape from prison, but she is caught again and executed by hanging. Quasimodo, furious at Frollo's actions, throws his surrogate father off the balcony of the cathedral and rushes down to the place where his beloved is being hanged, only to arrive too late (Notre Dame...Synopsis). The musical ends with Quasimodo's heartbreaking lament, promising to be buried with her and expressing his desire to see her dance once more (Plamondon & Cocciante Acte II, 9eme Tableau).

True to French form, Notre-Dame de Paris is a romantic tragedy. It has a complex group of people who love the next person, but that person may or may not reciprocate that love. Phoebus (who, incidentally, survives the attack) loves both Esmeralda and his fiancée Fleur-de-Lys. Fleur-de-Lys has nothing but hate for Esmeralda, and she even tells her fiancé that "I'll love you if you swear/That you will hang/[Esmeralda]" (Plamondon & Cocciante Acte II, 5eme Tableau). Frollo loves Esmeralda to the point of lust, but Esmeralda, understandably, hates him very much. In the end, Frollo and Esmeralda are dead, and Quasimodo is about to commit suicide. [In his novel, Victor Hugo points out that Phoebus also came to a sad ending: he got married. That is only implied in the musical, though.]

Notre-Dame de Paris sold 450,000 tickets in one day in Paris. As a matter of comparison, Les Misérables sold 250,000 in the space of seven months (Brambilla). Notre-Dame made its English debut in Las Vegas January 20 of this year [2000], translated by Will Jennings, who wrote the lyrics of "My Heart Will Go On" from the movie Titanic. It is set to open in London in May [2000]. It has broken all records for popularity, and the CD cast recording has been at the top of the charts there. From here, France could do one of two things with musicals. It could do the same thing it did after the successes of La Révolution Française and Starmania; namely, return to being a "graveyard for musicals" (Rice). I think it is more likely, however, that, based on its unprecedented popularity, the other possibility will happen. I think that the 21st Century will see a growing popularity of musicals in France. I said earlier that Boublil and Schönberg moved to London because France was "behind the times" concerning musicals. When I went to see Martin Guerre earlier this month [February 2000], I noticed in the program that Schönberg now once more lives in Paris. I do not know if this return is related to the success of his colleague's musical Notre-Dame de Paris, but I think it may be a sign that France is finally entering the field of musicals, and that they can be popular in France.

~~~

[Author's note, March 17, 2018: In the 18 years since I wrote this paper, musicals have indeed increased exponentially in France, and French Canada has also come out with some. It is gratifying as I retype this essay to see that my prediction that it would grow in popularity was accurate. I wrote a section for this paper on La Légende de Jimmy, about the life of James Dean, which sadly had to be cut because the paper was too long. Shortly after writing this, Roméo & Juliette and Les Dix Commandements came out. Boublil and Schönberg have also written more musicals, including The Pirate Queen and Marguerite. Many more musicals by multiple composers have followed.]

Works Cited and Consulted

Please note, this is as of February 2000. Most URLs likely no longer work due to the amount of time that has passed since then.

• 5th Avenue Presents. "Claude-Michel Schönberg." Martin Guerre: The Official Program of the 5th Avenue Theatre Company. 11.4 (2000):8.
• Boublil, Alain. From Madame Chrysanthemum to Miss Saigon. 10 Feb 2000 <http://miss-saigon.com/origins/madame.html>
• Brambilla, Patricia. Construire. 1999. 31 Jan 2000 <http://www.construire.com/SOMMAIRE/9906/06cult2.htm>
• Choi, Andrew. Synopsis. 1996. 10 Feb 2000 <http://www.geocities.com/Broadway/2403/lmsynopsis.html>
• Citron, Stephen. The Musical from the Inside Out. Chicago: Ivan R. Dee, 1992.
• Dixon, Paul. Miss Saigon. 1998. 10 Feb 2000 <http://www.albemarle-london.com/saigon.html>
• Flinn, Denny Martin. Musical! A Grand Tour. New York: Schirmer, 1997.
• Il se passe quelque chose à Monopolis. 9 Feb 2000 <http://www.multimania/younig/ilsepass.htm>
• Lee, Anthony Patrick. Starmania Historique. 1996. 9 Feb 2000 <http://www.sirius.com/~alee/s/starchro.htm>
• Lee, Rob. The Barricade on the Rue de la Chanvrerie: A Tribute to Les Misérables. 1999. 10 Feb 2000 <http://www.users.cloud9.net/~rlee/lesmis/>
• Martin Guerre. 10 Feb 2000. 2:00 PM. Dir. Conall Morrison. Perf. Hugh Panaro, Stephen R. Buntrock, Erin Dilly, Jose Llana, and John Herrera. 5th Ave Theatre, 1999.
• Les Misérables: The Complete Symphonic Recording. CD-ROM. London: EuroArts, 1997.
• Luc Plamondon. 10 Feb 2000 <http://www.sacd.fr/bio_plamondon.htm>
• Notre Dame de Paris - Synopsis. 1999. 16 Feb 2000. <http://www.geocities.com/Broadway/Stage/9590/Nd_synopsis_uk.html
• Plamondon, Luc, and Richard Cocciante. Notre Dame de Paris. Pantin: Publiphotoffset, 1998.
• Rice, Tim. Tycoon: Version anglaise de Starmania. 1992. 9 Feb 2000 <http://www.sirius.com/~alee/s/startyc.htm>
• Starmania. 1999. 9 Feb 2000. <http://www.canadiantheatre.com/s/starmania.html>
• Starmania: L'histoiremania. 1994. 9 Feb 2000. <http://www.sirius.com/~alee/s/starhist.htm>
• Story. 10 Feb 2000. <http://www.miss-saigon.com/musical/story/>
• Taylor, Steven A. La Revolution Francaise. 1996. 9 Feb 2000 <http://nomad.users.netlink.co.uk/rev.htm>
• Valentine, Roger. Starmania - the plot. 9 Feb 2000 <http://www.geocities.com/Broadway/2446/startext.htm>

Graphics used in this blog:

La Révolution Française: http://www.purepeople.com/media/pochette-du-disque-de-la-comedie_m712697

Starmania: http://starmania.pagesperso-orange.fr/

Les Misérables: http://www.cabotins.ca/les-miserables/

Miss Saigon: http://cardiff.carpediem.cd/events/3032658-miss-saigon-at-wales-millennium-centre/

Martin Guerre: https://www.youtube.com/watch?v=8tApgUz0xGo

Notre-Dame de Paris: http://2muchponey.com/lifestyle/notre-dame-de-paris-est-de-retour/

Musical Clickbait

I am not a fan of clickbait. Sometimes you have to find humor in these things. Here are a few musicals explained with clickbait...

Expectant mother drinks green potion. What happens next will blow your mind!

Aspiring Knight dreams an impossible dream. You won't believe what he thinks he can fight with a sword and a shaving basin he thinks is a helmet! My countenance is WOEFUL!

BAT CHILD FOUND IN CAVE (Oh wait...)

Barber uses this simple trick to REVOLUTIONIZE the neighboring meat pie business!

He tries to separate his good and evil natures. The result? I'm SHOCKED!!

Starved orphan sold to a funeral home after he asks for more food. You won't believe what happens after he escapes!

She meets him at an earthquake benefit concert. Their romance inspires a nation and disgusts an Argentine-Cuban Marxist revolutionary. See how the money rolls in and out. I'm CRYING for her!

Determined police officer doggedly pursues thief across two decades. What happens when they meet will SHOCK you!

Dragon prepares to bake her famous savory donkey pot pie. I'm TREMBLING! Flattery really does save lives!

[clickbait headline of show]

Voyage ends in tragedy as frozen dihydrogen monoxide sinks ship! AVOID DIHYDROGEN MONOXIDE!!!

Dreams come true! Disgraced Egyptian slave saves nation. You won't believe who else he saves!

He secretly slips some acrimonium in her drink. Boy oh boy, that full disclosure is strange!

How far will a younger brother go to ensure that his sister continues to torture him? I'm SHOCKED!!

Bohemian beauty steals the hearts of a hypocritical priest, an engaged archer, and a deaf one-eyed lame bellringer. I'm IN TEARS!!

Bookish oddball falls in love with horned creature. You'll be SHOCKED what happens when she declares her love!

This girl lost her parents and her ayah in a cholera epidemic in India and is being shipped back to Yorkshire to live with her widowed and grieving uncle. Her cousin has been bedridden ALL HIS LIFE and lives in fear of becoming a hunchback. 1 Like = 1 Prayer

Lord Farquaad's heritage called into question. Spread this ABSOLUTELY EVERYWHERE!

Boy under the control of an evil supercomputer uses this simple trick to break out!

He dreamed of soaring like an eagle on the big screen in Bollywood. What happened on the journey home will shock you!

SCANDAL!! Apprentice blames rash of DEATHS on one of the plants in his shop!

New Chairman of the Board credits obscure thrift shop book for his meteoric rise to the top. Mr. President, watch out! See page 5 for the juicy details of his upcoming wedding to his secretary.

Greek wine god takes servant on quest down the River Styx. You'll CROAK when you find out who he meets on the way and who he brings back!

Martha Stewart HATES him! Aspiring playwright pens a culinary musical.

You WON'T BELIEVE where Conrad Birdie is going next, and you'll be SHOCKED about his one last kiss before he leaves! We're CRYING!

OMG, you guys! If there ever was a perfect couple, THIS ONE qualifies!

SCANDAL!! Jilted bathing beauty MURDERS diva!

You won't believe what this hobbit did with his priceless ring!

Gangster threatens to KILL his girlfriend, a bar singer. You WON'T BELIEVE where the police hide her, or what she does to the place!

What this Greek demigod was accused of stealing will literally SHOCK you!

Forbidden love between an Egyptian prince and a Nubian princess, and we just CAN'T EVEN!!

Have you heard? There's a rumor in St. Petersburg!

Diva breaks silence on upstart managers, being cast out of opera, and the unsuitability of her replacement

Exclusive! Who is the real Christine Daaé? Get all the details from opera insider Carlotta Giudicelli! Prepare to be shocked! Does Ms. Daaé owe her so-called talent to a mysterious "Opera Ghost", or is it just her rich lover, the Opera's new patron?

False Musical Plots

My craziness has struck again. This time I decided to come up with musicals, using their actual titles, but summarize the plots completely wrong. Enjoy!

Wicked
About a bunch of candles that have just had their wicks installed. They have been wicked.

The Phantom of the Opera
The sad tale of Banquo's ghost in an opera version of the Scottish Play

Titanic
Inspired by Big, but he gets much, MUUUCCHHHH bigger!

Rent
About a rip in time and space... It is rent in twain!

Sister Act
A remake of White Christmas, focusing on the Haynes Sisters

Beauty and the Beast
A mysterious deformed creature haunts an opera house and trains a beautiful diva to sing

A Very Potter Musical
The Brady Bunch learns to make pots

Something Rotten
A musical about cleaning out the fridge at work

Cats
All the actors completely ignore the director, drawing a metaphorical parallel to herding cats

Hamilton
People get ill from eating a ton of ham

Charlie and the Chocolate Factory
About a factory that churns out merchandise for the hit band "Charlie and the Chocolate"

Shrek
About a failed attempt at turning Star Trek into a musical. It was named with a mouth full of food. The person tried to say "Star Trek", but it came out all garbled.

The Buddy Holly Story
Two holly bushes become best friends

Once on This Island
Captain Jack Sparrow remembers the last time he was left marooned on this island. There was more rum at the time.

Elf
An elf moves to the Shire and revolutionizes the hobbits' gardens, songs and culture

Pippin
The Lord of the Rings from Peregrin Took's perspective

Young Frankenstein
A teenager learns honesty while drinking from a stein

Miss Saigon
Someone moves across the world from Vietnam and feels homesick. They really miss Saigon!

Aladdin
A boy is stuck in something, but what is the lad in? You don't find out until the end.

Urinetown
Where you are once you get downtown: you're in town.

Evita
A Spanish musical about avoidance

Sunset Boulevard
A musical about a road that is stuck in a time loop at sunset

Mamma Mia!
Super Mario Bros, the Musical!

The Drowsy Chaperone
An elementary field trip goes wrong when the overworked and underpaid parent who comes along falls asleep

Spamalot
The ultimate war against junk mail. Canned meat gets thrown across the stage.

The Civil War
A polite disagreement among gentlemen

Man of La Mancha
A Spanish man applies to Starbucks and specializes in making macchiatos​. (Mancha and macchiato literally mean "stain" in Spanish and Italian, respectively.)

The Wizard of Oz
After an exemplary career at Hogwarts, the potions master retires to sell potions by the ounce.

Ragtime
That time of the day when things get so dirty that simple tissues won't do.

Into the Woods
A sequel of Legally Blonde, where the main character is a huge fan of Elle Woods

Camelot
Set in the desert, where there are lots and lots of camels

My Fair Lady
The sad tale of Sansa Stark and her ill-fated direwolf

Bat Boy
In an attempt to sound cooler and more menacing, Robin rebrands himself

The King & I
The life and times of Priscilla Presley

State Fair
Iowa is rated as simply fair. Not great, not horrible, just fair.

Sweeney Todd: The Demon Barber of Fleet Street
Josh Groban's dog must be exorcised when he starts biting off people's hair

Hairspray
A mad scientist invents an aerosol can that sprays hair everywhere.

Matilda
The sad tale of an Australian swagman who stole a jumbuck and jumped in a billabong rather than be arrested. It involves a fair amount of waltzing.

The Slipper and the Rose
"Rose Tyler, I - "

Chicago
The entire cast gets blown across the stage by a strong wind

Carousel
Travelers at the airport are constantly losing their baggage because the baggage claim carousel isn't working right

Labyrinth
The third task of Harry Potter and the Goblet of Fire, extended into a full length musical

Oliver!
An amateur gardener calls in the professionals to groom his olive tree

The Scarlet Pimpernel
A star-crossed lover picks the perfect red flower for his beloved girlfriend

Love Never Dies
An appropriately-named musical in which the lovers truly love each other, are utterly faithful to each other, and they both survive. In fact, they are vampires, so they are immortal.

Annie Get Your Gun
Annie must take extreme measures to protect herself from the ongoing threat of Miss Hannigan, Rooster, and their devious schemes to find Easy Street

Mame
About a serial murderer who can't spell right

Annie
All about Annie Oakley and her sharpshooting skills

Joseph and the Amazing Technicolor Dreamcoat
A futuristic story of an innovative young lad who invents a coat that can project movies

Hello Dolly!
Dolly keeps missing the painfully obvious. I mean, hello!!

Groundhog Day
Old Ivy finally defeats the Chipmunks, and the mayor declares a holiday to celebrate. J. Pierrepont Finch gives a speech (sung, of course) at the ceremony.

Addams Family
Belle meets her future in-laws

Jersey Boys
A group of football players campaigns to replace their old outdated jerseys

The Falsettos
The show must go on, despite all the sopranos and altos having various unavoidable conflicts to the choral concert. The tenors and basses must cover for them.

Musicals Minus a Letter

One letter can make a big difference! A group I am in challenged us to come up with names of musicals, but take out a letter, and then explain the plot of this new musical. I had fun with this and came up with a bunch. I may be adding more as I think of them.

Lord of the Rigs
A hobbit trucker must take a semi to Mount Doom and destroy it (kind of a "Lord of the Rings meets Mad Max")

The Irate Queen
The Queen is not amused.

Unset Boulevard
An aging and crazed star of yesteryear must now remove the dishes, silverware and napkins that she carefully arranged on the street. Quick before that Cadillac drives over them! It does not end well for the driver of the Cadillac.

Little Hop of Horrors
Crazed bunnies resolve to "eat Cleveland and Des Moines and Peoria and..."

Spiderman: Turn of the Dark
The Dark Side takes a whole new form, turning to new forms of evil.

Vita
The first lady of Argentina celebrates life.

The Pantom of the Opera
An opera singer goes mute and must now mime their part.

The Hunchback of Note Dame
A hunchback gets dating advice and must take notes.

Le Mis
One person is very miserable.

Ear Evan Hansen
Evan gets an ear transplant.

Hailton
In a massive hailstorm, a whole ton of hail falls.

Beauty and the East
A beautiful maiden encounters ugliness and love out east.

Beauty and the Beat
Belle plays the drums.

The Little Mermad
Ariel is not amused.

Newses
Gollum joins the media and brings the newses to all those nasty hobbitses.

Ragtim
Tim has fallen on hard times.

Hell Dolly
Dolly is not amused.

Finding NeverLAN
The epic search for that place where there are no computer networks.

How to Succeed in Business Without Really Tying
You can win or lose, but a tie is not an option.

Ciderella
A rags to riches story of a young maiden who loves apple cider and meets a prince

Gus and Dolls
The theatre cat finds a new hobby in his retirement.

Bye Bye Birde
Everyone says good bye to their favorite bird before it flies south for the winter.

A Yea with Frog and Toad
Frog and Toad win the election.

The Music Ma
A proud mother helps her musical child to greatness.

The Iz
The life story of Israel Kamakawaiwo'ole.

Alexander's Ragtime Ban
A prohibition tale of when dancing was not allowed.

Ida
Mrs. Strauss travels back in time and meets an Egyptian prince. It does not end well for either of them, but "the gods love Titanic."

Into the Wood
Villagers band together to enter a tree.

A Very Otter Musical
Hermione's patronus learns to sing.

He-Man of La Mancha
A very macho man takes on the pesky windmills.

The Black Rook
The epic tale of a chess piece's quest to checkmate the enemy.

Catch Me if Yo Can
A hip hop musical about a rapper's escape from justice.

Mamma Mi
A mother is very excited about the third note on the solfege scale.

Reamgirls
A group of girls finds stardom with the help of reams and reams of paper.

[tile of show]
About someone who lays tile.

[title of sow]
A pig goes from Ma'am to Mrs. to AA to BA to Doctor.

High School Música
A boy and girl meet at a fiesta in Cancún and find out they go to the same school in Oaxaca.

Ten Beach Movie
Like A Tale of Two Cities, but on ten beaches instead.

Little Omen
Starts with an ominous warning and goes on to tell the sinister story of four sisters.

Rankenstein
A mad scientist brings a dead man back to life using spare body parts and electricity, but things go south quickly when the creature's foul, rank odor withers grass, causes trees to fall over, and local animals to keel over dead.

The Fros
Dionysus and his servant Xanthius encounter a sinister group of hippies with frizzy hair while questing to bring back a decent playwright.

Hrek
Gesundheit!

You're a Good Man, Harlie Brown
The Peanuts gang learns to ride motorcycles.

Sow Boat
A boat sails up the Mississippi carrying a load of pigs.

Show Boa
The pigs on aforementioned bot got eaten by a snake.

Spamalt
A new concept introducing a malt shop at the local spa.

The Kin and I
Anna visits her family.

If/Hen
An iffy tale of chickens.

Flower Rum Song
Captain Jack Sparrow had a bit too much to drink.

A Christmas Tory
The family Christmas party gets a little too political.

Big Ish
It's kinda big, but not huge.

10 in the Shade
The dry winter when the Snowmaker visited.

The Secret Arden
About a town in Ontario that very few people know about.

Samalot
About a gallant knight named Sam.

School of RCK
An Algerian soccer team trains its players.

Fiddler on the Roo
A joey learns to play the violin.

Bombay Reams
An aspiring Bollywood star struggles through reams of paperwork to reach his dream.

Ale of Two Cities
London and Paris compete for the best brew.

Wet Side Story
It's raining in New York.

A Christmas Carl
An updated version of the classic tale, in which Carl Scrooge is visited by three hosts.

Airspray
A popular teenage show decides to promote compressed air. Everyone's electronics are cleaned.

Hairspay
A very hairy puppy visits the vet.

Wes Side Story
Wes joins the Jets.

One on this Island
The epic search for palm trees on islands.

Dr. Horrible's Singalong Bog
Dr. Horrible goes on a quest through marshy flea-infested bogs to reach the secret lair of the Evil League of Evil, singing the whole time.

Jesus Christ Superstar

Please note: At this point, I have only seen the 2000 movie adaptation. Any comments are based on that production, and other productions may be different.

For years, I have been hearing mixed reviews on Andrew Lloyd Webber's musical Jesus Christ Superstar - everything from amazing to blasphemous (most people weighing in on the latter). As I am not generally one to formulate an opinion on something based only on hearsay (After all, the Bible says to "test the spirits"), I have not had an opinion on the subject. After all, I had never seen or heard it, aside from a few of the songs.

What I had heard: The musical was told from Judas' perspective, it was blasphemous (or amazing, depending on who I asked), Mary Magdalene was an important character, it spanned Jesus' last week leading up to the crucifixion, and what I could get from the songs I had heard (mainly I Don't Know How to Love Him, Gethsemane and Superstar).

First of all, like it or not, Jesus Christ Superstar was very important in the history of musicals. It was wildly popular in its time (and is still somewhat popular), and it was thanks in large part to this musical that Andrew Lloyd Webber rose to popularity, 15 years before The Phantom of the Opera made him even more popular. It was also at the London premiere of Jesus Christ Superstar in 1971 that the Frenchman Alain Boublil got the idea of writing a rock opera, thus beginning his collaboration with Claude-Michel Schönberg. The result was La Révolution Française (1973) a major landmark in the birth of French musicals. They would later go on to write several more hit musicals, the most popular of which were Les Misérables (1980 in French, 1985 in English) and Miss Saigon (1989).

As for the songs I had heard, I had mixed feelings. Musically, they have catchy tunes, and they capture many emotions. Of course, hearing the songs out of context only gives you part of the impact of the song, and sometimes leads to misunderstandings.

I knew "I Don't Know How to Love Him" was sung by Mary, and I didn't entirely know what to make of it. Mary seems to love Jesus, but is confused somehow (obviously, from the title of the song). I don't know that I really spent much time thinking about it before seeing the play, but it was an easily recognizable song.

"Gethsemane" bothered me a bit. It is obviously based on Jesus' prayer in the Garden of Gethsemane, and it captures His pain and inner turmoil as He wrestled with the notion of dying, and not wanting to. What bothered me was that it ended with the resolution "All right, I'll die. Just watch me die. See how I die." It sounds to me like a belligerent child deciding to obey his parents just to show them how wrong they are, all the while planning to tell them, "I told you so!" after it's all over. While the real Jesus didn't want to die, there was no belligerence involved, and He went willingly to save mankind, not because He had something to prove.

"Superstar" really bothered me. It seems to mock Jesus for coming 2000 years ago when there was "no mass-communication." I did not appreciate the question repeated throughout the song: "Jesus Christ Superstar, do You think You're who they say You are?" That tells me that the singers didn't believe that He was truly the Messiah.

On a recommendation from a friend who loves the 2000 version especially, I watched it this past Sunday. I have mixed feelings about it, and they may change somewhat as I ponder it further, but these are my thoughts 2 days later.

In the 2000 movie, Judas was played by Jérôme Pradon, one of my favorite singers/actors. Some of my favorite songs from musicals have been from his characters in Boublil & Schönberg's Martin Guerre (in which he played Guillaume) and Värttinä & A.R. Rahman's Lord of the Rings (Aragorn). I was surprised, however, with his performance as Judas. His acting and facial expressions were great, but the powerful, loud singing required of the character seemed to be a bit much for him at times. This is the first time I have been unimpressed with his singing, as he seemed to be straining his voice for most of the show.

It's interesting how, in some ways, the musical seems to turn the biblical story of Jesus' last week on its head. If this musical is to be believed, Judas betrayed Christ because he didn't believe that Jesus was the promised Messiah, which basically implies that Judas didn't believe much of what Jesus taught. He considered Him a misguided friend, who he felt the necessity to advise on repeated occasions. (I'm pretty sure the real Judas knew and understood that Jesus was truly the Messiah.) The musical shows Judas' arrogance in that he seems to see himself as the teacher, not the disciple. Up until the Last Supper, Jesus seems to tolerate Judas' constant nagging, aside from defending Mary several times when Judas criticizes Jesus' friendship with her, including the time she pours oil on Him.

As for Mary, she is a confused person in this musical. She has found Jesus, and turned from her past ways, but finds herself attracted to Him. I think this is a large part of where the charges of blasphemy come from, as she sees Jesus as more than a friend. She is confused because, as a former prostitute, she seems to understand that it's wrong to lie with Him, but that's the way she's known to express her love in the past. She expresses her confused feelings in the song "I Don't Know How to Love Him," which she sings (sometimes belting) while Jesus is sleeping and she's in the same room. In context, the song made more sense to me. One thing that surprised me somewhat was Judas' sudden appearance at the end of the song, when Mary is sitting next to a sleeping Jesus. Judas seems to misunderstand what he sees, takes Jesus for a hypocrite and adulterer, and that seems to be the final straw that leads him to go to the authorities and betray Jesus. I can see where this scene in particular could be open to interpretation and taken in more blasphemous directions than the 2000 movie does.

As the story builds, Judas becomes more and more conflicted, as he is increasingly disillusioned with Jesus, yet reluctant to turn in a friend to the authorities. The conflict seems to explode at the Last Supper when Jesus announces that Peter will deny Him and Judas will betray Him. This scene particularly bothered me, as it practically turns into a brawl, Jesus angrily shouting at Peter for the sin he will commit, and then Jesus and Judas going into a shouting match in which neither is very mature and Jesus seems to be resigned to committing suicide by angrily convincing Judas to go to the authorities. (In the Bible, Jesus only showed sadness at this point, not anger. While He did tell Judas to go do what he had to, He didn't have to spend five minutes trying to convince Judas to go.)

In context, the song "Gethsemane" bothered me just as much as it did out of context. It does a good job of capturing Jesus' pain and inner turmoil, but seems to end on a belligerent and childish note that is not present in the biblical account.

As in the biblical account, Judas feels remorse for betraying Jesus, and he tries to return the money the authorities gave him for his betrayal. Then, in despair, he hangs himself. Unlike in the biblical account, Judas' remorse is not because he realizes that he's sinned; it's because he realizes that Jesus' death will be pinned on him for all time and people won't understand that he did it with the best intentions.

Possibly the most accurately-portrayed character is Pilate (played brilliantly by Fred Johanson). You can tell he is conflicted and confused. He thinks Jesus is crazy, but he can't see any reason to have Him crucified. In an effort to satisfy the angry crowds, he has Jesus whipped 39 times. He sends Him to Herod, who, frustrated that Jesus won't talk, tells Jesus to "get out." Finally, when the crowd pressures Pilate to have Jesus crucified (or he'll incite a riot and be demoted), Pilate washes his hands of the whole affair and gives into the crowd's demands.

As Jesus is carrying the cross up the hill, Judas reappears (I thought he died?) and sings "Superstar." In context, the song makes much more sense, but left me somewhat bewildered. The style of the song is very upbeat, almost celebratory. (It is a rock opera, after all.) Somewhat odd, considering that Jesus is walking to His death. The lyrics seem to mock Jesus because, well, that's what was happening at the time. But to have Judas, who is dead at this point, leading the mockery seems especially strange. What I found even more disturbing was the angels joining in and openly mocking Jesus, agreeing with Judas that Jesus just might not be the Messiah, as the crowds suggested. While the Bible doesn't mention the angels at this point, it only ever talks about them glorifying God, not mocking Him. Perhaps these are supposed to be demons, who were originally angels? After all, the Bible states that Lucifer/Satan was known as the angel of light, and he often masquerades as such.

The musical ends with Jesus dead, His followers devastated and mourning. No mention of the Resurrection. I read somewhere that the musical is more about Jesus' humanity rather than His divinity, and I can see that.

Overall, Jesus Christ Superstar was not as blasphemous as I was expecting, based on comments I had heard from others, but it did have a lot of areas that were hardly respectful to the living Lord and Savior of mankind. It seems to convey that He was a great teacher, but he may have been somewhat misguided. He changed lives for the better, but he may or may not have been the Messiah. It doesn't seem to give a definitive answer to that question.

Glenn Carter did a great job as Jesus, although he seemed angrier than I would have liked (which seems to be written into the script, so I don't think that's his fault), and I could have done without hearing him go into falsetto several times. Renée Castle was an excellent choice for Mary, as her singing and acting conveyed well the conflicted woman, who became increasingly more sure of herself as the story progressed (even rebuking Peter for denying Christ toward the end). Fred Johanson was also great as Pilate. Frederick B. Owens was particularly memorable as Caiaphas. Not very many musicals include a strong bass, and his performance was brilliant. As I mentioned before, I was surprised to be disappointed with Jérôme Pradon's performance as Judas, as he has never disappointed me before, but his acting was great.

As I knew them best, "Gethsemane" and "I Don't Know How to Love Him" stood out as memorable songs, for good and bad. Another song that stood out for me was "Hosanna." I had heard that song a couple times before watching the movie, but didn't know it as well. However, it has a very catchy tune. Those three songs in particular show Andrew Lloyd Webber's brilliance in musical composition, and deserve their place in the classic songs that he wrote. I may not entirely agree with the message conveyed in all of them, but they have enjoyable and memorable tunes, and they capture well the emotions that the characters are feeling.

Due to the disrespectful nature of parts of the show, I can't recommend it for its message and fidelity to the source material, but it was better than I expected. The musicality of the whole thing is excellent, and for that, I do recommend it. However, to anyone watching it, I recommend taking it with a grain of salt and studying the Biblical account to find out what actually happened. In some ways, Jesus Christ Superstar is a semi-fictional story based on actual events, told from an unusual perspective.

One thing I would love to see someday is a hit musical based on the life of Christ that builds up, not to the crucifixion, but to the resurrection. So far, Andrew Lloyd Webber has brought us Jesus Christ Superstar, and Stephen Schwartz has brought us the much-more-respectful (usually) Godspell. Both are somewhat open to interpretation by the director (Godspell more than Jesus Christ Superstar), but neither necessarily includes the resurrection. Both end with Jesus dead (although some productions of Godspell have been able to add the resurrection quite effectively). While there is sometimes value to ending the story with Jesus' death - which highlights the enormity of the tragedy - it's like ending the story halfway through the climactic battle, before the turn of the tide that leads to the final triumphant victory.