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@trialbeforepilate
this post is about the WRONG lloyd webber musical for this blog but if i get too heavy or tmi on my main i will go to hell and die in that order. anyway as someone who got childgroomed by a father figure and then separately adultgroomed by a hypnotist youād think iād be uniquely qualified to hate the phantom of the opera more than anyone else has ever hated the phantom of the opera. but actually i just kind of want him
itās so awesome that andrew lloyd webber wrote not one but two musicals where the main protagonist has le hypnosis trauma energy. and a complicated relationship with the title character
what if there was someone youd known for a long time but they were too powerful for comfort and it was really making you nervous. but this person was a friend and teacher to you, and one you placed a lot of trust in.Ā
and your mind YOUR MIND YOUR MIND.... your will is being manipulated in some way. maybe its magic, maybe its mundane. maybe youre just doing what you always wanted to do and now you have an excuse that puts you comfortably in the role of victim, or maybe theres something truly wrong happening to your brain and youre acting in ways you never ever wanted to. maybe something between the two. whatever the means really are, youre doing something youre going to regret, that you already regret. and god, you feel dirty. sick and used. deceived.Ā
you dont speak your final decision to them, you simply kiss them. they just barely bring themself to forgive you, they breathe your name on their lips and you canāt look at them a moment longer.
AND youre the main character of an andrew lloyd webber musical but the average layman assumes this buddy of yours is the main character because their name is in the title
itās so awesome that andrew lloyd webber wrote not one but two musicals where the main protagonist has le hypnosis trauma energy. and a complicated relationship with the title character
GOT THE BEST BLATHER ROUND PROMPT EVER YESTERDAY
my mind is nearer now (warning)
my mind is dearer now (self love)
my mind is queerer now (self explanatory)
my mind is nearer now (warning)
my mind is dearer now (self love)
my mind is nearer now (warning)
need to find out what weird specific issues other people project onto judas. i have mine but what are yours
judas is like a potato. like how potatoes are vessels for butter and salt and chives. except instead of butter and salt and chives itās trauma
iām processing some baggage and judas is the platonic ideal of this baggage.
judas is like a potato. like how potatoes are vessels for butter and salt and chives. except instead of butter and salt and chives itās trauma
just donāt say iām. nananananananana batman. damned for all time
if i had a nickel for every time zubin varla played a role originated by murray head in a rock opera with lyrics by tim rice i would have 2 nickels
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awwww š„ŗš„ŗš„ŗ
when will productions of jesus christ superstar realize that the pharisees should be just as sympathetic as every other character in the show. theyāre scared about being slaughtered by rome just like judas is! they may be cold and kinda ruthless but they have damn good reason to be! the show works best when no single person or group is just being ~evil~ for the fun of it!!! So Why Are The Pharisees Almost Always Cariciturishly Evil ? ! ? !
I was literally just thinking this but I couldnāt articulate it for the life of me! As much as I love the modern stagings, something about making the Pharisees just another part of whatever fictional government theyāve made for āRomeā doesnāt sit right with me.
You can often tell how sympathetic a production is to the Phariseesā fear by looking at how they treat the āhe is dangerousā section of āThis Jesus Must Die.ā Itās there for a reasonāto establish the stakes of their continued existence under Rome. The section is obviously unnerving, but itās up to the direction of the show whether the audience is afraid OF the Pharisees or afraid FOR the Pharisees.
The groundwork for the Phariseesā fear is right there in the music. This section is the first time audience hears the āhowling mobā from the outside. The eerie echoes of āHosanna, Superstarā reframe the obsession of the crowd in a deeply unnerving light. A production with the goal of making people afraid for the Pharisees will use these echoes of the crowd to put the audience in the Phariseesā shoes, listening to the crowd close in on them. Even the musical sound of the āhe is dangerousā refrain itself can be used to sympathize with the Phariseesāitās dangerously unstable, and that instability stems from the Phariseesā fear.
You can also get sympathetic fear from the lyrics in several places. One of the very first things that Caiaphas says is āweāve not much time.ā The afraid-of-the-Pharisees interpretation of this is that theyāre out to get Jesus as soon as possible, and they have him right where they want him. The afraid-for-the-Pharisees interpretation is that they canāt take one moment of Romeās tolerance for granted, and theyāre going to lose said tolerance if they let this Jesus deal go on for much longer. Another little moment (that can be a big moment if done well) is Caiaphasā reaction to the suggestion that they call the Roman guard. His āNo, wait!ā could just be that he wants Jesusā punishment all to himself, orā¦ it could be that heās terrified of calling the Romansā attention to their predicament. Terrified that if they advertise their ineptitude by asking the Romans to take Jesus down, theyāll all go down with him.
This is an absolutely excellent post! The short answer to why the Pharisees so often get lumped into the Most Evil set of characters is, wellā¦Itās The Antisemitism, and @thirteens-earringā gives some absolutely excellent staging ideas to reframe the portrayal. As one of the Token Jewish JCS fans, Iāve always said that you know a production is going to shit when their Pilate is depicted more sympathetically than the Pharisees, the very people he actively oppresses every day. (Hereās looking at you, 2000.)Ā
Unfortunately, elements of this are present in the text - JCS is far from a perfect work, and there certainly is more dynamic development for Pilate. It takes a lot of care with framing to pull it off in a way that isnāt offensive.Ā
In addition to the above fantastic ideas about making use of the Phariseesā obvious and legitimate fears, and afraid-for-the-Pharisees interpretation (especially to emphasize theyāre facing a classic trolley problem), thereās also more to it wrt good Pharisee portrayals, specifically when it comes to costuming and consistency.
To wit - even if you go the route of depicting the Phariseesā concerns as legitimate, their costuming can kind of negate this, especially if your depictions fall into stereotypes. Iām talking about when 2012 London recorded version with Tim Minchin dresses them as Wall Street businessmen, with Jesusā followers being a metaphor for the Occupy Movement, literally painting rabbis as Greedy Corrupt Capitalists and the first Christians as a radical burgeoning socialist movement to combat this. 2012 Broadway fared little better - people have complained to varying degrees about the black cloaked figures aspect of the otherwise awesome JCSL version (imo itās fine bc theyāre more sci fi and it makes them look authoritative and cool), but combining the black trenchcoats with fake dreadlocks for no discernible reason (on mostly white actors!), Eastern-looking hats, and having the prop choice be them counting out coins from their trunksā¦yikes. Even the set dressing can lend itself to unfortunate implications - JCS 2000 gives us a High Priestsā House that everyone and their cousin has noted looks like a low-budget version of the Death Star meeting table from A New Hope, which is all kinds of screwed up considering that versionās Roman Empire being literally depicted as fascists, and the Star Wars Empire clearly having fascist roots/basis/inspiration as well, all this thereby coding the Pharisees as fascistic as well. These can go a long way in detracting from sympathetic framing, while also being antisemitic.Ā
And then thereās consistency - while itās all well and good to have This Jesus Must Die depict the fear and pressures the Pharisees are deliberating, later choices as the show goes on can also negate this. Key example - JCS 2000, which I swear canāt do anything right ever, at first appears (ā¦quality notwithstanding) to be giving us a visibly concerned Caiaphas, also having theĀ āHosanna, Superstarā echoes fall through the ceiling cracks and into the Phariseesā house/domain, apparently lending itself to theĀ āafraid for the Phariseesā depictionā¦only for this all to be completely negated by the fact that the Pharisees are unquestionably sinister in this version. They beat up on Judas with little clue as to why, and they are much more clearly shown to be the driving force in pushing Pilateās decisions (Pilate, who is, I reiterate, costumed like a fascist soldier).Ā
While the Pharisees do have to constantly equivocate with the Roman occupiers, This Jesus Must Die is a good chance at establishing that this is what they think will ensure the survival of their people, but you also have to go beyond that in their framing through the sets, costumes, and later actions/character dynamics to show some consistency to this characterization, otherwise it falls apart.Ā
allow me to share my most unpopular jcs opinion. i respect yalls taste butā¦ i donāt like the 2000 movie, at ALL
Twirling my hair cutely. I saw the aaron lavigne tour who wants to get annoying w/ me
JUDAS WITH THE SILVER ON HIS HANDS.
Twirling my hair cutely. I saw the aaron lavigne tour who wants to get annoying w/ me
