CURTAIN CALL
HE IS A COMPOSER of melodic genius and telling theatrical savvy. He is a cheap panderer to the lowest common denominator, derivative and faceless” – so the New York Times summed up the polarizing takes on Broadway hit-maker Andrew Lloyd Webber’s musical talents back in 1987. Still, despite critical opinion of the composer’s populist appeal and its perceived blight on the Great White Way, Webber’s work has enjoyed success unparalleled by his peers. In March, the Tony-, Grammy- and Oscar-winning composer celebrates his 70th birthday with the release of both his memoir, Unmasked, and the multi-CD set Andrew Lloyd Webber Unmasked: The Platinum Collection, featuring Barbra Streisand, Madonna and Sarah Brightman among other tal- ents singing tunes from his most famous shows, including Joseph and the Amazing Technicolor Dreamcoat, Evita, The Phantom of the Opera and Jesus Christ Superstar.
Speaking of Jesus Christ Superstar, the 1973 film, directed by Canadian Norman Jewison, proved
almost as polarizing as its famed composer. Long before Broadway hits like Hamilton earned laurels for colourblind casting, the production was slammed for its handsome white Messiah (Ted Neeley), while the only person of colour, Carl Anderson, played Judas. It’s fitting, then, that 45 years later, as movements from #OscarsSoWhite to #white washedOUT spotlight racial bias in entertainment, that the upcoming NBC TV production Jesus Christ Superstar Live in Concert! responds with an African-American Jesus (R&B singer John Legend). Executive produced by Webber and lyricist Tim Rice, the production, a followup to previous highly rated television musicals like The Sound of Music Live! and Hairspray Live!, co-stars shock rock legend Alice Cooper, 70, as King Herod. It will air, appropriately enough, on Easter Sunday. —MC