1987 Ben Vereen Contract Signed Legendary African American Actor Dancer Coa

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Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176277808844 1987 BEN VEREEN CONTRACT SIGNED LEGENDARY AFRICAN AMERICAN ACTOR DANCER COA. BEN VEREEN 1987 SIGNED CONTRACT RIDER MEASURING APPROXIMATELY 7 3/4 X 4 7/8 INCHES WITH AUTHENTICATION FROM STEVE GRAD WHEN HE WAS WITH MASTRONET Benjamin Augustus Vereen is an American actor, dancer and singer. Vereen gained prominence for his performances in the original Broadway productions of the musicals Jesus Christ Superstar, for which he received a Tony Award nomination, and Pippin, for which he won the 1973 Tony Award for Best Actor in a Musical. 


Effervescent African-American entertainer Ben Vereen attended New York's High School of the Performing Arts and Emerson College. Vereen was 18 when he made his New York stage bow in Prodigal Son; shortly thereafter, he was cast in the touring company of Sweet Charity, eventually making his 1969 screen debut in the film version of that Cy Coleman-Dorothy Fields musical. He joined the cast of Hair in 1969, at various junctures playing both Claude and Berger. The following year, he won the Theatre World Award for his portrayal of Judas in Andrew Lloyd Webber's Jesus Christ Superstar. After a season with the National Shakespeare Company, Vereen was cast as "The Leading Player" in the Broadway musical Pippin, a performance that earned him a Tony Award. While he seemed destined to appear in naught but film musicfests like Funny Lady (1975) and All That Jazz (1979), Vereen proved his dramatic mettle with his unforgettable portrayal of Chicken George in the landmark miniseries Roots. While he didn't win the Emmy for this role (as many expected), his 1978 TV special Ben Vereen...His Roots copped the gold statuette. Vereen has also been honored with the American Guild of Variety Artists' George M. Cohan award, and with the NAACP's Image Award. In 1980, he co-starred with Jeff Goldblum in the Steven Cannell-produced TV series Tenspeed and Brownshoe. Though the series failed, Vereen reserved a warm place in his heart for his wheeler-dealer "Tenspeed Turner" character, reprising the role on the 1987 TV weekly J. J. Starbuck. His additional TV credits include the 1975 summer series Ben Vereen...Comin' at Ya, the recurring role of Uncle Phillip on Webster (1986), and the hosting chores for the syndicated talent contest You Write the Songs (1986) At the height of his fame, Vereen ebulliently attributed his success to "Jesus." His faith was sorely tested in the late 1980s; enduring the death of his son, Vereen began contemplating suicide, at one point deliberately standing in the middle of a busy Los Angeles street, allowing himself to be struck down by a passing car. Happily, Vereen recovered both emotionally and professionally; his recent credits include the Broadway musical Jelly's Last Jam and the recurring role of Captain Hutchinson in the TV cop series Silk Stalkings (1991- ). *Multi-talented performer Ben Vereen opens up about his past and his “blood family” in his new autobiography, revealing that he didn’t know he was adopted until he was 25-years-old and needed to apply for a passport to tour Europe with Sammy Davis, Jr. He told BlogTalkRadio.com: “I didn’t have a passport so he told me to send for my birth certificate. I didn’t think about the fact that I didn’t have one or there were no baby pictures of me. Turns out they didn’t have my birth certificate under the name Ben Vereen but they had Essie Middleton as the mother of Benjamin Vereen. “I told my mother about it and she told me she was hoping I’d never know. That’s how I found out, so the story is about my journey of finding them (birth parents) and blessing the woman who raised me.” Vereen, now 64, admits he’s still coming to terms with his forgotten family after finally tracking them down just four years ago. “The whole idea of hearing my older sister’s voice for the first time was just amazing. We were both nervous seeing each other for the first time. Now she’s always on my case. “I also discovered I have a brother, Jimmy, and (another, called) Eugene. Can you imagine you’re sitting at home and one day my sister gets a phone call: ‘Do you know who your brother is?’ She said, ‘Yeah, my brothers are Eugene and Jimmy, why?’ “When they told her you have another brother and his name is Ben Vereen, she said, ‘Get outta here, the guy who plays Chicken George in Roots?’ “Both mothers have since gone on (died), so finding aunts and cousins and a whole slew of people who are now in my life and my children’s lives is wonderful and very rich. We had 110 people come to the family reunion and they embraced us into their family.” Benjamin Augustus Vereen (born October 10, 1946) is an American actor, dancer and singer. Vereen gained prominence for his performances in the original Broadway productions of the musicals Jesus Christ Superstar, for which he received a Tony Award nomination, and Pippin, for which he won the 1973 Tony Award for Best Actor in a Musical. Contents 1 Early life 2 Career 2.1 Stage 2.2 Television 3 Personal life 3.1 Sexual harassment allegations 4 Filmography 4.1 Film 4.2 Television 5 Theatre 6 Discography 6.1 Solo albums 6.2 Ensemble albums 6.3 Singles and EPs 7 Awards and Nominations 8 References 9 External links Early life Vereen was born Benjamin Augustus Middleton on October 10, 1946 in Laurinburg, North Carolina.[2][3][4] While still an infant, Vereen and his family relocated to the Bedford-Stuyvesant neighborhood in Brooklyn, New York City. He was adopted by James Vereen, a paint-factory worker, and his wife, Pauline, who worked as a maid and theatre wardrobe mistress.[5] He discovered he was adopted when he applied for a passport to join Sammy Davis Jr. on a tour of "Golden Boy" to London when he was 25.[6] He was raised Pentecostal.[7] During his pre-teen years, he exhibited an innate talent for drama and dance and often performed in local variety shows. At the age of 14, Vereen enrolled at the High School of Performing Arts, where he studied under world-renowned choreographers Martha Graham, George Balanchine, and Jerome Robbins. Upon his graduation, he struggled to find suitable stage work and was often forced to take odd jobs to supplement his income. Career Stage When Vereen was 18 years old, he made his New York stage bow off-off Broadway in The Prodigal Son at the Greenwich Mews Theater directed by Stella Holt. By the following year, he was in Las Vegas, performing in Bob Fosse's production of Sweet Charity, a show with which he toured in 1967–68. He returned to New York City to play Claude in Hair in the Broadway production, before joining the national touring company. The following year, he was cast opposite Sammy Davis Jr. in the film adaptation of Sweet Charity. After developing a rapport with Davis, Vereen was cast as his understudy in the upcoming production of Golden Boy, which toured England and ended the run at the Palladium Theatre in London's West End. Vereen was nominated for a Tony Award for Jesus Christ Superstar in 1972 and won a Tony for his appearance in Pippin in 1973. Vereen appeared in the Broadway musical Wicked as the Wizard of Oz in 2005. Vereen has also performed in one-man shows and actively lectures on black history and inspirational topics. Television Vereen in 2007 Vereen has also starred in numerous television programs, and is well known for the role of 'Chicken' George Moore in Alex Haley's landmark TV miniseries Roots, for which he received an Emmy nomination in 1977. Vereen's four-week summer variety series, Ben Vereen ... Comin' At Ya, aired on NBC in August 1975 and featured regulars Lola Falana, Avery Schreiber and Liz Torres. In 1978, on a Boston Pops TV special, Vereen performed a tribute to Bert Williams, complete with period makeup and attire, and reprising Williams' high-kick dance steps, to Vaudeville standards such as "Waitin' for the Robert E. Lee". In 1981, Vereen performed at Ronald Reagan's first inauguration. The performance generated controversy as Vereen performed the first part of the show in blackface. Before the finale, ABC cut the live performance, generating confusion and anger from viewers at home.[8] According to video artist Edgar Arcenaux, what TV viewers didn’t see was the second part of the performance, in which Vereen mimicked being refused service because of his color while trying to buy the Republican elite a congratulatory drink. As Arceneaux explains, Vereen's performance was meant as a critique of Republican civil rights policies, but the TV audience didn't get to see it.[9] Vereen was cast opposite Jeff Goldblum in the short-lived detective series Tenspeed and Brown Shoe (1980). During the late 1980s and early 1990s, Vereen worked steadily on television with projects ranging from the sitcom Webster to the drama Silk Stalkings. In 1985, Vereen starred in the Faerie Tale Theatre series as Puss in Boots alongside Gregory Hines. He appeared on The Fresh Prince of Bel-Air episode "Papa's Got a Brand New Excuse", in which he played Will Smith's biological father Lou Smith. He made several appearances on the 1980s sitcom Webster as the title character's biological uncle. He also appeared as Mayor Ben (a leopard) on the children's program Zoobilee Zoo and as Itsy Bitsy Spider in Mother Goose Rock 'n' Rhyme. In 1993 he appeared in the Star Trek: The Next Generation episode "Interface" as the father of Roots co-star LeVar Burton's character Geordi La Forge; fellow Roots star Madge Sinclair appeared in the same episode as Geordi's mother. In Roots, Vereen had played "Chicken George", the grandson of Burton's character Kunta Kinte.[10] He also appeared on the television series The Nanny episode "Pishke Business". In 2010, he appeared on the television series How I Met Your Mother episodes "Cleaning House" and "False Positive" as Sam Gibbs, the long lost father of James Stinson, Barney Stinson's brother. He returned in 2013 and 2014 for another two episodes. Personal life Vereen has appeared as a public speaker and humanitarian speaking on such topics as black history, overcoming adversity, and the importance of continuing education. In 2007, he was diagnosed with type 2 diabetes and has a website in which he shares his personal story along with advice from medical experts. According to The Fayetteville Observer of April 29, 2006, Vereen learned while applying for a passport in the late 1960s that he was adopted. His birth certificate revealed that his birth name was Benjamin Augustus Middleton, that he was the son of Essie Middleton, and that he was born in Laurinburg, North Carolina. In April 2006, Vereen visited Scotland County with a genealogist on a search for family members and learned that his mother's name was Essie May Pearson. The Laurinburg Exchange reported: "Vereen, an adoptee who learned that he was born in Laurinburg and made a celebrated trip to Scotland County in 2006 to reconnect with family. While on the trip he learned his mother had died 24 years before, but that several relatives still lived in the area." According to her acquaintances, Essie had gone on a trip when Vereen was a child, and had left her baby in someone's care. When she returned, the child was gone. In the April 28, 2006 interview with the 'Laurinburg Exchange', Vereen said that his visit "has just all been so overwhelming ... I've finally found my family".[11] In May 2006, he met his mother's daughter, (his sister), Gloria Walker, of Derby, Connecticut.[12][13][14] He also has a brother, James Middleton, who lives in Tucson, Arizona. In the early 1980s, Vereen moved with his family to Saddle River, New Jersey.[15] His 16-year-old daughter, Naja, was killed in an auto accident in 1987[16] on the New Jersey Turnpike when a truck overturned on her car. In 1992, Vereen suffered three accidents in one day, when his car hit a tree causing him to hit his head on the roof of his car, then he suffered a stroke while he was walking on a Malibu highway, apparently veering into the road where he was struck by a car driven by record producer David Foster. His critical injuries (including a broken leg) required him to undergo arduous physical rehabilitation in the ensuing months.[17][18] Vereen is the godfather of R&B superstar Usher and is also the first cousin once removed of New York Giants running back Shane Vereen. Vereen was the keynote speaker for the Boys & Girls Clubs in St. Petersburg, Florida annual alumni tribute gala held in October 2007. In August 2011, Vereen was named Co-Artistic Director of Tampa's Broadway Theatre Project.[19] In September 2012, Vereen filed for divorce from his wife Nancy Bruner Vereen of 36 years, citing irreconcilable differences.[20] He is an active Democrat.[21] Vereen was inducted as an honorary member of Phi Beta Sigma fraternity on April 9, 2019.[22] His 55-year old son, Ben Vereen Jr., died in 2020.[23] Sexual harassment allegations In January 2018, four actresses in a Florida production of Hair directed by Vereen in 2015 alleged that he sexually harassed them throughout the production.[24] According to the New York Daily News, "the women — part of the Venice Theatre production outside of Tampa — say Vereen forced unwanted kisses, hugged them aggressively, stripped naked during an acting exercise and made degrading comments about their weight, sex appeal and personal lives". The Daily News published cast members' claims that he used his position of authority as a director and mentor to pressure them to engage him in unwanted sexual interactions. For example, two of the actresses said he did this by privately luring them on separate occasions to his Florida rental home. One woman willingly admits she and Vereen began a relationship though feels it was ultimately coerced; the other says he sexually molested her and later nonconsensually kissed her and made sexually disparaging remarks.[25] According to Variety, "While directing the 2015 production of the musical at the Venice Theatre in Florida, Vereen is alleged to have invited female cast members back to his apartment and goaded them into sex acts. He’s also accused of inappropriate talk and conduct during rehearsals that involved cast members stripping naked, ostensibly as preparation for a show that has, since its original 1967 production, been associated with a famous, full-cast nude scene."[26] Vereen has since apologized for his misconduct.[27] Filmography Film Year Title Role Notes 1969 Sweet Charity Dancer 1970 Gas-s-s-s Carlos 1975 Funny Lady Bert Robbins 1979 All That Jazz O'Connor Flood 1980 This Boxer Wears a Shirt 1982 Cycling Through China Himself Documentary 1982 Sabine Stanley 1985 The Zoo Gang The Winch 1988 Buy & Cell Shaka 1993 Once Upon a Forest Phineas voice 1998 Why Do Fools Fall in Love Richard Barrett 1999 I'll Take You There Mr. Gwin 2001 The Painting Whistlin' Willie Weston 2006 Idlewild Percy Senior 2007 And Then Came Love Chuck Cooper 2009 Tapioca Nuts 2009 21 and a Wake-Up General Garner 2011 Mama, I Want to Sing! Horace Payne 2013 Khumba Mkhulu, the Elder Zebra voice 2014 Top Five Carl 2014 Time Out of Mind Dixon Television Year Title Role Notes 1975 Ben Vereen... Comin' at Ya Host 4 episodes 1976 Louis Armstrong – Chicago Style Louis Armstrong Television Movie 1976 The Muppet Show Special Guest Star Episode: "Ben Vereen" 1977 Roots Chicken George Moore 3 episodes 1977 The Carol Burnett Show Self 2 episodes 1980 Tenspeed and Brown Shoe E.L. 'Tenspeed' Turner 14 episodes 1981 Pippin: His Life and Times The Leading Player Television Movie 1982-84 The Love Boat Various roles 3 episodes 1983 The Charmkins Dragonweed Voice; Television Short 1983-85 Webster Uncle Philip Long 11 episodes 1984 SCTV 1984 The Jesse Owens Story Herb Douglas Television Movie 1984 Ellis Island Roscoe Haines 3 episodes 1985 A.D. Ethiopian 5 part miniseries 1985 Lost in London Paul Williams Television Movie 1985 Faerie Tale Theatre Puss in Boots Episode: Puss in Boots 1986-87 Zoobilee Zoo Mayor Ben 62 episodes 1988 Jenny's Song Joe Television Movie 1988 J.J. Starbuck E.L. "Tenspeed" Turner 5 episodes 1990 The Kid Who Loved Christmas Performer Television Movie 1990 Mother Goose Rock 'n' Rhyme Itsy Bitsy Spider Television Movie 1990 Booker Carl McQueen Episode: "The Life and Death of Chick Sterling" 1991-93 Silk Stalkings Capt. Ben Hutchinson 11 episodes 1992 Intruders Gene Randall 2 episodes 1993 Star Trek: The Next Generation Dr. Edward LaForge Episode: "Interface" 1994 Lois and Clark: The New Adventures of Superman Dr. Andre Novak Episode: "Illusions of Grandeur" 1994 The Fresh Prince of Bel-Air Lou Smith Episode: "Papa's Got a Brand New Excuse" 1994 The Nanny Ben Vereen Episode: "Pishke Business" 1995 New York Undercover Louie Episode: "Eliminate the Middleman" 1996 Touched by an Angel Ulysses Dodd Episode: "Secret Service" 1997 Second Noah Sweet Billy Episode: "Desperately Seeking Mickey" 1998 Soldier of Fortune, Inc. Senator Stanford Parks Episode: "Party Girl" 1999 Promised Land Lawrence Taggert Sr. 3 episodes 1999 The Jamie Foxx Show Royal Episode: "Taps for Royal" 2001 The Feast of All Saints Rudolphe Lermontant Television Movie 2002 Oz A.R. Whitworth Episode: "Good Intentions" 2007 Grey's Anatomy Archie Roche Episode: "Love/Addiction" 2007 Law & Order: Criminal Intent Rev. Jeremiah Morris Episode: "Senseless" 2008 Accidental Friendship Wes Television Movie 2008 Your Mama Don't Dance Judge 8 episodes 2010 House of Payne Clarence Sanderson Episode: "Curtis Sings the Blues 2010-14 How I Met Your Mother Sam Gibbs 4 episodes 2011 Broadway: The Next Generation Himself Documentary Series 2014 Love That Girl! Judge Episode: "Business is Business" 2013 NCIS Lamar Addison Episode: "Homesick" 2015 Hot in Cleveland Mayor of Cleveland Episode: "Out of Our Minds" 2016 The Rocky Horror Picture Show: Let's Do the Time Warp Again Dr. Everett von Scott Television Special NBC 2017 Making History Dr. Theodore Anthony Cobell 3 episodes 2017-18 Sneaky Pete Porter 6 episodes 2018 Magnum P.I. Henry Barr Episode: "Death Is Only Temporary" 2018-19 Star Calvin 5 episodes 2019 Bull Willie Lambert Episode: "Forfeiture" 2019 Tales Harry Episode: "My Life" 2021 The Good Fight Frederick Douglas 4 episodes Theatre Year Production Role Venue Notes 1965 The Prodigal Son Dancer Greenwich Mews Theater, Off-Broadway 1967–68 Sweet Charity Dancer US & Canada Tour 1968–72 Hair Hud - Claude Biltmore Theatre, Broadway National Tour 1968 Golden Boy Understudy to Sammy Davis Jr. London Palladium International Tour 1970 Gurton's Apocalyptic Needle Alternate roles The New Troupe/Touring 1970 Don't Call Me Toby Singer/Dancer The New Troupe, Touring 1970–71 No Place to be Somebody Alternate roles Touring Company 1971–73 Jesus Christ Superstar Judas Iscariot Mark Hellinger Theatre, Broadway 1972–74 Pippin Leading Player Imperial Theater, Broadway, U.S. tour 1985 Grind LeRoy Mark Hellinger Theatre, Broadway 1992–93 Jelly's Last Jam Chimney Man Shubert Theater, Broadway Replacement 1995–96 A Christmas Carol Ghost of Christmas Present Madison Square Garden, Broadway 1999 Chicago Billy Flynn U.S. & Canada Tour 2001 Fosse Performer Shubert Theater, Broadway Replacement 2002 I'm not Rappaport Midge Shubert Theater, Broadway U.S. National tour 2003 The Exonerated Performer Off-Broadway 2005-06 Wicked The Wizard of Oz Gershwin Theatre, Broadway Replacement Discography Solo albums Off-Stage (Buddah Records, 1975) Ben Vereen (Buddah Records, 1976) Signed, Sealed, Delivered! (51 West, 1979) Here I Am (Accord, 1982) Steppin' Out Live (Ghostlight Records, 2010) Ensemble albums Grind (Original Cast Recording) (TER, 1985) Pippin (Original Broadway Cast) (Decca Broadway, 2000) Singles and EPs Superstar (MCA Records, 1971) Could We Start Again Please? / Heaven On Their Minds (Decca, 1972) Stop Your Half-Steppin' Ma Ma (Buddah Records, 1975) By Your Side (Buddah Records, 1975) Got It Made / Read Between the Lines (Ariola, 1980) Awards and Nominations The handprints of Ben Vereen in front of Theater of the Stars at Walt Disney World's Disney's Hollywood Studios theme park Theater Year Award Category Title Results 1972 Tony Award Best Featured Actor in a Musical Jesus Christ Superstar Nominated 1972 Theatre World Award N/A Won 1973 Drama Desk Award Outstanding Performance Pippin Won 1973 Tony Award Best Actor in a Musical Won Television Year Award Category Title Results 1976 Golden Globe Award New Star of the Year – Actor Funny Lady Nominated 1977 Primetime Emmy Award Outstanding Supporting Actor in Variety or Music The Bell Telephone Jubilee Nominated Outstanding Lead Actor Drama or Comedy Series Roots Nominated 1984 Golden Globe Award Best Supporting Actor - Television Ellis Island Nominated 1992 Primetime Emmy Award Outstanding Supporting Actor in a Miniseries Intruders Nominated Honors The Community Mental Health Council awarded Vereen with their 2004 Lifeline Celebration Achievement Award. For his humanitarian contributions, he has received a number of awards including Israel's Cultural and Humanitarian Awards, three NAACP Image Awards, an Eleanor Roosevelt Humanitarian Award and a Victory Award. He has received honorary doctorates from the University of Arizona, Emerson College, St. Francis College, and Columbia College in Chicago. In 2001, Medgar Evers College created the Ben Vereen Scholarship for the Performing Arts, and in 2004, he received an Achievement in Excellence Award from his alma mater, the High School of the Performing Arts. He was the first simultaneous winner of the "Entertainer of the Year," “Rising Star," and "Song and Dance Star" awards from the American Guild of Variety Artists (AGVA). He also earned a coveted spot in the Casino Legends Hall of Fame. Vereen was nominated for an NAACP Image Award for his performance in the Hallmark movie An Accidental Friendship. In 2004, Vereen was nominated for a "Career Achievement Award" by the Le Prix International Film Star Awards Organization. In 2011, he was inducted into the American Theatre Hall of Fame.[28] In 2012, Vereen was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame. The Antoinette Perry Award for Excellence in Broadway Theatre,[1] more commonly known as the Tony Award, recognizes excellence in live Broadway theatre. The awards are presented by the American Theatre Wing and The Broadway League[2] at an annual ceremony in Midtown Manhattan. The awards are given for Broadway productions and performances. One is also given for regional theatre. Several discretionary non-competitive awards are given, as well, including a Special Tony Award, the Tony Honors for Excellence in Theatre, and the Isabelle Stevenson Award.[3] The awards founded by Brock Pemberton are named after Antoinette "Tony" Perry, an actress, producer and theatre director who was co-founder and secretary of the American Theatre Wing. The trophy consists of a medallion, with faces portraying an adaptation of the comedy and tragedy masks, mounted on a black base with a pewter swivel. The rules for the Tony Awards are set forth in the official document "Rules and Regulations of The American Theatre Wing's Tony Awards", which applies for that season only.[4] The Tony Awards are considered the highest U.S. theatre honor, the New York theatre industry's equivalent to the Academy Awards (Oscars) for film, the Emmy Awards for television, and the Grammy Awards for music. It also forms the fourth spoke in the EGOT, that is, someone who has won all four major annual American entertainment awards. The Tony Awards are also considered the equivalent of the Laurence Olivier Awards in the United Kingdom and the Molière Awards in France. The 74th annual ceremony was held on September 26, 2021, at Winter Garden Theatre in New York City and was broadcast live on Paramount+. Audra McDonald served as the host. Contents 1 Award categories 1.1 Performance categories 1.2 Show and technical categories 1.3 Special awards 1.4 Retired awards 2 History 2.1 Medallion 3 Details of the Tony Awards 3.1 Rules for a new play or musical 3.2 Committees and voters 3.3 Eligibility date (Season) 3.4 Broadway theatre 4 Criticism 5 Award milestones 5.1 Productions 5.2 Individuals 5.3 Firsts 6 See also 7 References 8 External links Award categories Most recent Tony Award winners ← 2019 2020 Tony Awards 2022 →     Mary-Louise Parker by Gage Skidmore.jpg Award Best Leading Actor in a Play Best Leading Actress in a Play Winner Andrew Burnap (The Inheritance) Mary-Louise Parker (The Sound Inside)   Aaron Tveit in Boston.jpg Award Best Leading Actor in a Musical Best Leading Actress in a Musical Winner Aaron Tveit (Moulin Rouge!) Adrienne Warren (Tina)   Stephen Daldry 2013.jpg Award Best Direction of a Musical Best Direction of a Play Winner Alex Timbers (Moulin Rouge!) Stephen Daldry (The Inheritance) Previous Best Musical Hadestown Previous Best Play The Ferryman Best Musical Moulin Rouge! Best Play The Inheritance As of 2014, there were 26 categories of awards, in addition to several special awards. Starting with 11 awards in 1947, the names and number of categories have changed over the years. Some examples: the category Best Book of a Musical was originally called "Best Author (Musical)". The category of Best Costume Design was one of the original awards. For two years, in 1960 and 1961, this category was split into Best Costume Designer (Dramatic) and Best Costume Designer (Musical). It then went to a single category, but in 2005 it was divided again. For the category of Best Director of a Play, a single category was for directors of plays and musicals prior to 1960.[5] A newly established non-competitive award, The Isabelle Stevenson Award, was given for the first time at the awards ceremony in 2009. The award is for an individual who has made a "substantial contribution of volunteered time and effort on behalf of one or more humanitarian, social service or charitable organizations".[6] The category of Best Special Theatrical Event was retired as of the 2009–2010 season.[7] The categories of Best Sound Design of a Play and Best Sound Design of a Musical were retired as of the 2014–2015 season.[8] On April 24, 2017, the Tony Awards administration committee announced that the Sound Design Award would be reintroduced for the 2017–2018 season.[9] Performance categories Best Performance by a Leading Actor in a Play Best Performance by a Featured Actor in a Play Best Performance by a Leading Actor in a Musical Best Performance by a Featured Actor in a Musical Best Performance by a Leading Actress in a Play Best Performance by a Featured Actress in a Play Best Performance by a Leading Actress in a Musical Best Performance by a Featured Actress in a Musical Show and technical categories Best Musical Best Revival of a Musical Best Direction of a Musical Best Book of a Musical Best Original Score Best Orchestrations Best Choreography Best Scenic Design in a Musical Best Costume Design in a Musical Best Lighting Design in a Musical Best Sound Design of a Musical Best Play Best Revival of a Play Best Direction of a Play Best Scenic Design in a Play Best Costume Design in a Play Best Lighting Design in a Play Best Sound Design of a Play Special awards Regional Theatre Tony Award Special Tony Award (includes Lifetime Achievement Award) Tony Honors for Excellence in Theatre Isabelle Stevenson Award Retired awards Best Author Best Conductor and Musical Director Best Costume Design (split into two categories: Best Costume Design in a Musical and Best Costume Design in a Play) Best Lighting Design (split into two categories: Best Lighting Design in a Musical and Best Lighting Design in a Play) Best Newcomer Best Revival (split into two categories: Best Revival of a Musical and Best Revival of a Play) Best Scenic Design (split into two categories: Best Scenic Design in a Musical and Best Scenic Design in a Play) Best Stage Technician Best Special Theatrical Event Best Director (split into two categories: Best Direction of a Musical and Best Direction of a Play) History Main article: List of Tony Awards ceremonies The award was founded in 1947 by a committee of the American Theatre Wing (ATW) headed by Brock Pemberton. The award is named after Antoinette Perry, nicknamed Tony, an actress, director, producer and co-founder of the American Theatre Wing, who died in 1946.[10] As her official biography at the Tony Awards website states, "At [Warner Bros. story editor] Jacob Wilk's suggestion, [Pemberton] proposed an award in her honor for distinguished stage acting and technical achievement. At the initial event in 1947, as he handed out an award, he called it a Tony. The name stuck."[11] Nevertheless, the awards were sometimes referred to as the "Perry Awards" in their early years.[12][13] The 1st Tony Awards was held on April 6, 1947, at the Waldorf Astoria hotel in New York City.[14] The first prizes were "a scroll, cigarette lighter and articles of jewelry such as 14-carat gold compacts and bracelets for the women, and money clips for the men".[15] ATW co-founder Louise Heims Beck was responsible for over seeing the organization of the first awards.[16] It was not until the third awards ceremony in 1949 that the first Tony medallion was given to award winners.[15] Since 1967, the award ceremony has been broadcast on U.S. national television and includes songs from the nominated musicals, and occasionally has included video clips of, or presentations about, nominated plays. The American Theatre Wing and The Broadway League jointly present and administer the awards. Audience size for the telecast is generally well below that of the Academy Awards shows, but the program reaches an affluent audience, which is prized by advertisers. According to a June 2003 article in The New York Times: "What the Tony broadcast does have, say CBS officials, is an all-important demographic: rich and smart. Jack Sussman, CBS's senior vice president in charge of specials, said the Tony show sold almost all its advertising slots shortly after CBS announced it would present the three hours. 'It draws upscale premium viewers who are attractive to upscale premium advertisers,' Mr. Sussman said..."[17][18] The viewership has declined from the early years of its broadcast history (for example, the number of viewers in 1974 was 20 million; in 1999, 9.2 million) but has settled into between six and eight million viewers for most of the decade of the 2000s.[19] In contrast, the 2009 Oscar telecast had 36.3 million viewers.[20] Medallion The Tony Award medallion was designed by art director Herman Rosse and is a mix of mostly brass and a little bronze, with a nickel plating on the outside; a black acrylic glass base, and the nickel-plated pewter swivel.[21] The face of the medallion portrays an adaptation of the comedy and tragedy masks. Originally, the reverse side had a relief profile of Antoinette Perry; this later was changed to contain the winner's name, award category, production and year. The medallion has been mounted on a black base since 1967.[22][23] A larger base was introduced in time for the 2010 award ceremony. The new base is slightly taller – 5 inches (13 cm), up from 3+1⁄4 inches (8.3 cm) – and heavier – 3+1⁄2 pounds (1.6 kg), up from 1+1⁄2 pounds (680 grams). This change was implemented to make the award "feel more substantial" and easier to handle at the moment the award is presented to the winners. According to Howard Sherman, the executive director of the American Theatre Wing: We know the physical scale of the Oscars, Emmys and Grammys. While we're not attempting to keep up with the Joneses, we felt this is a significant award, and it could feel and look a bit more significant... By adding height, now someone can grip the Tony, raise it over their head in triumph and not worry about keeping their grip. Believe me, you can tell the difference.[24] For the specific Tony Awards presented to a Broadway production, awards are given to the author and up to two of the producers free of charge. All other members of the above-the-title producing team are eligible to purchase the physical award. Sums collected are designed to help defray the cost of the Tony Awards ceremony itself. An award cost $400 as of at least 2000, $750 as of at least 2009, and, as of 2013, had been $2,500 "for several years", according to Tony Award Productions.[25] Details of the Tony Awards Source: Tony Awards Official Site, Rules[26] Rules for a new play or musical For the purposes of the award, a new play or musical is one that has not previously been produced on Broadway and is not "determined… to be a 'classic' or in the historical or popular repertoire", as determined by the Administration Committee (per Section (2g) of the Rules and Regulations).[4] The rule about "classic" productions was instituted by the Tony Award Administration Committee in 2002, and stated (in summary) "A play or musical that is determined ... to be a 'classic' or in the historical or popular repertoire shall not be eligible for an award in the Best Play or Best Musical Category but may be eligible in that appropriate Best Revival category."[27] Shows transferred from Off-Broadway or the West End are eligible as "new", as are productions based closely on films. This rule has been the subject of some controversy, as some shows, such as Hedwig and the Angry Inch and Violet,[28] have been ruled ineligible for the "new" category, meaning that their authors did not have a chance to win the important awards of Best Play or Best Musical (or Best Score or Best Book for musicals). On the other hand, some people[who?] feel that allowing plays and musicals that have been frequently produced to be eligible as "new" gives them an unfair advantage because they will have benefited from additional development time as well as additional familiarity with the Tony voters. Committees and voters The Tony Awards Administration Committee has twenty-four members: ten designated by the American Theatre Wing, ten by The Broadway League, and one each by the Dramatists Guild, Actors' Equity Association, United Scenic Artists and the Society of Stage Directors and Choreographers. This committee, among other duties, determines eligibility for nominations in all awards categories.[29] The Tony Awards Nominating Committee makes the nominations for the various categories. This rotating group of theatre professionals is selected by the Tony Awards Administration Committee. Nominators serve three-year terms and are asked to see every new Broadway production.[30] The Nominating Committee for the 2012–13 Broadway season (named in June 2012) had 42 members;[31] the Nominating Committee for the 2014–2015 season has 50 members and was appointed in June 2014.[30] There are approximately 868 eligible Tony Award voters (as of 2014),[26] a number that changes slightly from year to year. The number was decreased in 2009 when the first-night critics were excluded as voters.[32][33] That decision was changed, and members of the New York Drama Critics' Circle were invited to be Tony voters beginning in the 2010–2011 season.[34] The eligible Tony voters include the board of directors and designated members of the advisory committee of the American Theatre Wing, members of the governing boards of Actors' Equity Association, the Dramatists Guild, the Society of Stage Directors and Choreographers, United Scenic Artists, and the Association of Theatrical Press Agents and Managers, members of the Theatrical Council of the Casting Society of America and voting members of The Broadway League (in 2000, what was then The League of American Theaters and Producers changed membership eligibility and Tony voting status from a lifetime honor to all above-the-title producers, to ones who had been active in the previous 10 years. This action disenfranchised scores of Tony voters, including Gail Berman, Harve Brosten, Dick Button, Tony Lo Bianco, and Raymond Serra). Eligibility date (Season) To be eligible for Tony Award consideration, a production must have officially opened on Broadway by the eligibility date that the Management Committee establishes each year. For example, the cut-off date for eligibility the 2013–2014 season was April 24, 2014.[35] The season for Tony Award eligibility is defined in the Rules and Regulations. In 2020, the 74th Annual Tony Awards were postponed due to the -19 pandemic.[36] On August 21, 2020, it was announced that the 74th Annual Tony Awards would take place digitally later in 2020.[37] Broadway theatre A Broadway theatre is defined as having 500 or more seats, among other requirements. While the rules define a Broadway theatre in terms of its size, not its geographical location, the list of Broadway theatres is determined solely by the Tony Awards Administration Committee. As of the 2016–2017 season, the list consisted solely of the 41 theaters located in the vicinity of Times Square in New York City and Lincoln Center's Vivian Beaumont Theater.[38][39] Criticism While the theatre-going public may consider the Tony Awards to be the Oscars of live theatre, critics have suggested that the Tony Awards are primarily a promotional vehicle for a small number of large production companies and theatre owners in New York City.[40][41] In a 2014 Playbill article, Robert Simonson wrote that "Who gets to perform on the Tony Awards broadcast, what they get to perform, and for how long, have long been politically charged questions in the Broadway theatre community..." The producers "accept the situation ... because just as much as actually winning a Tony, a performance that lands well with the viewing public can translate into big box-office sales." Producer Robyn Goodman noted that, if the presentation at the ceremony shows well and the show wins a Tony, "you’re going to spike at the box office".[42] The awards met further criticism when they eliminated the sound design awards in 2014.[43] In 2014, a petition calling for the return of the Sound Design categories received more than 30,000 signatures.[44] Addressing their previous concerns over Tony voters[45] in the category, it was announced that upon the awards' return for the 2017–2018 season, they would be decided by a subset of voters based on their expertise.[9][46][47] Some advocates of gender equality and non-binary people have criticized the separation of male and female acting categories in the Tony Awards, Academy Awards, and Emmy Awards. Though some commentators worry that gender discrimination would cause men to dominate unsegregated categories, other categories are unsegregated. The Grammy Awards went gender-neutral in 2012, while the Daytime Emmy Awards introduced a single Outstanding Younger Performer in a Drama Series category in 2019 to replace their two gender-specific younger actor and actress categories.[48][49] Award milestones This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Tony Awards" – news · newspapers · books · scholar · JSTOR (January 2021) (Learn how and when to remove this template message) Some notable records and facts about the Tony Awards include the following:[50] Productions Nominations: The most Tony nominations ever received by a single production was the musical Hamilton (2016) with 16 nominations in 13 categories, narrowly passing the previous holders of this record, The Producers (2001; 15 nominations in 12 categories) and Billy Elliot (2009; 15 nominations in 13 categories). The most Tony nominations for a non-musical play was Slave Play (2020; 12 nominations in 10 categories). Wins: The most Tony Awards ever received by a single production was the musical The Producers (2001) with 12 awards, including Best Musical. Non-musical wins: The most Tonys ever received by a non-musical play was The Coast of Utopia (2007) with 7 awards, including Best Play. Most nominations with fewest wins: Musicals Mean Girls (2018) and The Scottsboro Boys (2011), as well as non-musical play Slave Play (2020) are tied: all three were nominated for 12 Tony Awards but did not win any.[51] Four productions, all musicals, have won all "big six" awards for their category: South Pacific (1950 awards), Sweeney Todd: The Demon Barber of Fleet Street (1979 awards), Hairspray (2003 awards)[52] and The Band's Visit (2018 awards); each won the Best Musical, Best Score, Best Book, Best Performance by a Leading Actor, Best Performance by a Leading Actress, and Best Direction awards. Acting Awards: Only one production, South Pacific (1950 awards), has won all four of the acting awards in a single year. Words and Music: Only six musicals have won the Tony Award for Best Musical when a person had (co-)written the Book (non-sung dialogue and storyline) and the Score (music and lyrics): 1958 winner The Music Man (Meredith Willson – award for Book and Score did not exist that year), 1986 winner The Mystery of Edwin Drood (Rupert Holmes – who also won for Book and Score), 1996 winner Rent (Jonathan Larson posthumously – who also won for Book and Score), 2011 winner The Book of Mormon (Trey Parker, Robert Lopez, and Matt Stone also won for Book and Score), 2016 winner Hamilton (Lin-Manuel Miranda also won for Book and Score), and 2019 winner Hadestown (Anaïs Mitchell also won for Score). Design Awards: Eleven shows have swept the Design Awards (original 3 of Best Scenic Design, Best Costume Design, Best Lighting Design – joined by Best Sound Design starting in 2008): Follies (1972), The Phantom of the Opera (1986), The Lion King (1998), The Producers (2001), The Light in the Piazza (2005), The Coast of Utopia (2007), the 2008 revival of South Pacific (first to sweep the expanded four awards for Creative Arts), Peter and the Starcatcher (first straight play to sweep the expanded four awards for Creative Arts) (2012), Harry Potter and the Cursed Child (2018), A Christmas Carol and Moulin Rouge! (both 2020). Revivals: Death of a Salesman by Arthur Miller in 2012 became the first show (play or musical) to win as Best Production in four different years, Best Play at the 1949 awards, Best Revival at the 1984 awards (before the Best Revival award was split into two categories for Play and Musical in 1994), and Best Revival of a Play at the 1999 and 2012 awards. La Cage aux Folles made history as the first musical to win as Best Production in three different years, Best Musical at the 1984 awards and Best Revival of a Musical at both the 2005 awards and the 2010 awards. The King and I has also garnered 3 Tony Awards, one for each time it has been produced on Broadway, first as Best Musical and then twice as Best Revival of a Musical. Individuals Wins: Harold Prince has won 21 Tony Awards, more than anyone else, including eight for Best Direction of a Musical, eight for Best Musical, two for Best Producer of a Musical, and three special Tony Awards. Tommy Tune has won ten Tony Awards including three for direction, four for choreography, two for performing, and one special Tony Award. Stephen Sondheim has won more music Tony Awards than any other individual, with eight awards (six for Best Original Score, one for Best Composer, and one for Best Lyricist). Bob Fosse has won the most Tonys for choreography, also eight. Oliver Smith has won a record eight scenic design Tony Awards. Jules Fisher has won the most lighting design awards, with nine. Audra McDonald has the most performance Tony Awards with six. Terrence McNally and Tom Stoppard are the most awarded writers with four Tonys each; McNally has won Best Play twice and Best Book of a Musical twice, while Stoppard has won Best Play four times. Most nominations: Julie Harris and Chita Rivera have been nominated more often than any other performer, ten apiece.[53][54] Performers in two categories: Six performers have been nominated in two acting categories in the same year: Amanda Plummer, Dana Ivey, Kate Burton, Jan Maxwell, Mark Rylance, and Jeremy Pope. Plummer in 1982 was nominated for Best Actress in a Play for A Taste of Honey and Best Featured Actress in a Play for Agnes of God, for which she won. Ivey in 1984 was nominated as Best Featured Actress in Musical for Sunday in the Park with George and Best Featured Actress in a Play for Heartbreak House. In 2002, Burton was nominated for Best Actress in Play for Hedda Gabler and Best Featured Actress in a Play for The Elephant Man. Maxwell was nominated in 2010 for Best Actress in a Play for The Royal Family and Best Featured Actress in a Play for Lend Me a Tenor. Rylance was nominated in 2014 for Best Actor in a Play for Richard III and Best Featured Actor in a Play for Twelfth Night, for which he won. Pope was nominated in 2019 for Best Actor in a Play for Choir Boy and Best Featured Actor in a Musical for Ain't Too Proud. Performers in all categories: Five performers have been nominated for all four performance awards for which a performer is eligible. Boyd Gaines was the first performer to be nominated for each of Best Featured Actor in a Play in The Heidi Chronicles (1989), Best Actor in a Musical for She Loves Me (1994), Best Featured Actor in a Musical for Contact (2000) and Gypsy (2008) and Best Actor in a Play for Journey's End (2007). Gaines won in three of the categories (and four of the five nominations), missing only for the performance in Journey's End. Raúl Esparza was the second performer to be nominated in all four categories (no wins), achieving this over a mere six seasons: Best Featured Actor in a Musical for Taboo (2004), Best Actor in a Musical for Company (2007), Best Featured Actor in a Play for The Homecoming (2008), and Best Actor in a Play for Speed-the-Plow (2009). Angela Lansbury was the third performer to be nominated for all four performance awards. She won Best Actress in a Musical for Mame (1966), Dear World (1969), Gypsy (1975), and Sweeney Todd (1979). She was nominated for Best Actress in a Play for Deuce (2007). She won Best Featured Actress in a Play for Blithe Spirit (2009). She was nominated for Featured Actress in a Musical for A Little Night Music (2010). Jan Maxwell became the fourth performer to achieve this distinction by being nominated (no wins) for Best Featured Actress in a Musical for Chitty Chitty Bang Bang (2005), Best Featured Actress in a Play for Coram Boy (2007) and Lend Me a Tenor (2010), Best Actress in a Play for The Royal Family (2010), and Best Actress in a Musical for Follies (2012). Audra McDonald became the fifth performer to accomplish the feat and the first to win in all four categories, winning Best Performance by a Featured Actress in a Musical for Carousel (1994) and Ragtime (1998), Best Performance by a Featured Actress in a Play for Master Class (1996) and A Raisin in the Sun (2004), Best Performance by a Leading Actress in a Musical for Porgy and Bess (2012), and Best Performance by a Leading Actress in a Play for Lady Day at Emerson's Bar and Grill (2014). She was nominated for Best Performance by a Leading Actress in a Musical for Marie Christine (2000) and 110 in the Shade (2007) and for Best Performance by a Leading Actress in a Play for Frankie and Johnny in the Clair de Lune (2020/21). Performers Playing Opposite Sex: While several performers have won Tonys for roles that have involved cross-dressing, only four have won for playing a character of the opposite sex: Mary Martin in the title role of Peter Pan (1955), Harvey Fierstein as Edna Turnblad in Hairspray (2003), Mark Rylance as Olivia in Twelfth Night (2014), and Lena Hall as Yitzhak in Hedwig and the Angry Inch (2014). In 2000, Australian actor Barry Humphries won the Special Tony Award for a live theatrical event at the 55th Annual Tony Awards for Dame Edna: The Royal Tour. Shared Performances: All three of the young actors who shared the duties of performing the lead character in Billy Elliot the Musical (2009 awards) – David Alvarez, Trent Kowalik and Kiril Kulish – also shared a single nomination, then shared the win, for Best Actor in a Musical. Previously, the only prior joint winners were John Kani and Winston Ntshona, who shared the Best Actor in a Play award in 1975 for Sizwe Banzi is Dead and The Island, two plays they co-wrote and co-starred in. Both sexes in one role: Ben Vereen and Patina Miller both won, respectively, Best Actor in a Musical in 1972 and Best Actress in a Musical in 2013 for the role of the Leading Player in Pippin, marking the first time the same role has been won by both a male and a female in a Broadway production. Writing and performing: Two people have won Tonys as an author and as a performer. Harvey Fierstein won Best Play and Best Lead Actor in a Play for Torch Song Trilogy (1983), Best Book of a Musical for La Cage aux Folles, and Best Lead Actor in a Musical for Hairspray. Tracy Letts, the author of 2008 Best Play August: Osage County, won Best Lead Actor in a Play for Who's Afraid of Virginia Woolf? (2013). Youngest and oldest composers to win: Lin-Manuel Miranda is the youngest person to win the award; he was 28 when he won for In The Heights. If T. S. Eliot had been alive when he won for Cats, he would have been 94. Eliot is one of two people to receive the award posthumously, the other being Jonathan Larson, who won for Rent. He would have been 36. Youngest and oldest actors to win: Dick Latessa is the oldest actor to win a Tony for his performance in Hairspray aged 72, whilst Lois Smith holds the record for oldest actress for her performance in The Inheritance, which she won at age 90. The youngest actor to win the Best Supporting Actor Tony Award was Frankie Michaels, a record he broke in 1966 aged 11 which still stands today, for his performance in Mame. 25 years later, Daisy Eagan took home a Tony Award for Best Featured Actress in a Musical for her performance in The Secret Garden at 11 and a half years old, cementing her place in Tony history as the youngest ever woman to win the award. In 2013, the four girls who alternated for the title role in Matilda the Musical (Sophia Gennusa, aged 9; Bailey Ryon, aged 10; Oona Laurence, aged 10; and Milly Shapiro, aged 10) won a joint Tony Honors award, making Gennusa the youngest to ever win a Tony, albeit non-competitive. Firsts First African-American to win Best Performance by a Featured Actress in a Musical: Juanita Hall for South Pacific in 1950. First African-American to win Best Performance by a Featured Actor in a Musical: Harry Belafonte for John Murray Anderson's Almanac in 1954. First female author to win Best Play: Frances Goodrich with her partner (and husband) Albert Hackett for The Diary of Anne Frank in 1956. First African-American to win Best Performance by a Leading Actress in a Musical: Diahann Carroll for No Strings in 1962. First African-American to win Best Performance by a Leading Actor in a Play: James Earl Jones for The Great White Hope in 1969. First African-American to win Best Performance by a Leading Actor in a Musical: Cleavon Little for Purlie in 1970. First African-American author to win Best Play: Joseph A. Walker for The River Niger in 1974. First African-American composer to solely win Tony Award for Best Score: Charlie Smalls for The Wiz in 1975. First female to win Tony Award for Best Score: Betty Comden for On the Twentieth Century in 1978. (In 1968, she became the first female to win the previous version of the Best Score Award, the Tony Award for Best Composer And Lyricist for Hallelujah, Baby! First Asian-American author to win Best Play: David Henry Hwang for M Butterfly in 1988. First Asian-American to win Best Performance by a Featured Actor in a Play: BD Wong for M Butterfly in 1988. First female author to solely win Best Play: Wendy Wasserstein for The Heidi Chronicles in 1989. First Asian to win Best Performance by a Leading Actress in a Musical: Lea Salonga for Miss Saigon in 1991. First female to win Best Direction of a Musical: Julie Taymor for The Lion King in 1998. First female to win Best Direction of a Play: Garry Hynes for The Beauty Queen of Leenane in 1998. First African-American to win Best Performance by a Leading Actress in a Play: Phylicia Rashad for A Raisin in the Sun in 2004. First Brazilian to win Best Performance by a Leading Actor in a Musical: Paulo Szot for South Pacific in 2008. First female to solely win Tony Award for Best Score: Cyndi Lauper for Kinky Boots in 2013. First Asian-American to win Best Performance by a Featured Actress in a Musical: Ruthie Ann Miles for The King and I in 2015. First female team to win Tony Award for Best Score and Tony Award for Best Book: Jeanine Tesori & Lisa Kron for Fun Home in 2015. First Lebanese-American to win Tony Award for Best Performance by a Leading Actor in a Musical: Tony Shalhoub for The Band's Visit in 2018. First Yemeni-American to win Tony Award for Best Performance by a Featured Actor in a Musical: Ari'el Stachel for The Band's Visit in 2018. First person who uses a wheelchair to be nominated for and to receive a Tony Award for acting: Ali Stroker with the Tony Award for Best Featured Actress in a Musical for Oklahoma! in 2019.[55][56] First female to be nominated for and to win Best Sound Design of a Musical: Jessica Paz for Hadestown in 2019.[57] See also Jesus Christ Superstar is a rock opera with music by Andrew Lloyd Webber and lyrics by Tim Rice. It is loosely based on the Gospels' accounts of the last week of Jesus's life, beginning with the preparation for the arrival of Jesus and his disciples in Jerusalem and ending with the crucifixion. The work interprets the psychology of Jesus and other characters. Much of the plot centers on Judas, who is dissatisfied with the direction in which Jesus is steering his disciples. Contemporary attitudes, sensibilities and slang pervade the rock opera's lyrics, and ironic allusions to modern life are scattered throughout the depiction of political events. Stage and film productions accordingly contain many intentional anachronisms. Initially unable to get backing for a stage production, the composers released it as a rock opera album musical. The success of the album led to the show's Broadway on-stage debut in 1971. By 1980, the musical had grossed more than $237 million worldwide.[1] Running for over eight years in London between 1972 and 1980 it held the record for longest-running West End musical before it was overtaken by Cats in 1989.[2] Contents 1 Plot 1.1 Act I 1.2 Act II 2 Principal roles 3 Musical numbers 4 Production 4.1 Original Broadway production 4.2 Controversy 4.3 Other 1970s and 1980s productions 4.4 1990s and 2000s 4.5 2010s 4.6 Notable international productions 5 Recordings and radio broadcasts 6 Films 7 Television 8 Usage 9 Principal roles and casting history 10 Awards and nominations 10.1 Original Broadway production 10.2 1996 London revival 10.3 2000 Broadway revival 10.4 2012 Broadway revival 10.5 2016 London revival 11 Further reading 12 References 13 External links Plot Act I Judas Iscariot, one of the Twelve Apostles, worries that the followers of Jesus are getting out of control and may be seen as a threat by the Roman Empire, who might harshly suppress them ("Heaven on Their Minds"). The other apostles anticipate going to Jerusalem with Jesus and ask him about his plans, but Jesus tells them not to worry about the future ("What's the Buzz"). Mary Magdalene tries to help Jesus relax. Judas tells Jesus that he should not associate with Mary, because a relationship with a sex-worker could be seen as inconsistent with his own teachings and be used against him ("Strange Thing Mystifying"). Jesus tells Judas that he should not judge others unless he is without sin. Jesus then reproaches the apostles and complains that none of them truly cares about him. Mary Magdalene tries to reassure Jesus while anointing him with oil ("Everything's Alright"). Judas angrily says that the money spent on oil should have been used to help the poor. Jesus answers that they do not have the resources to end poverty, and that they should be glad for what comforts they have. Meanwhile, Caiaphas, the High Priest of Israel, assembles the Pharisees and priests. Like Judas they fear that Jesus's followers will be seen as a threat by the Romans, and that many Jews might suffer the consequences. Caiaphas concludes that for the greater good, Jesus must be killed ("This Jesus Must Die"). As Jesus and his followers arrive exultantly in Jerusalem, they are confronted by Caiaphas, who demands that Jesus disperse the crowd. Jesus instead greets the happy crowd ("Hosanna"). Then Simon the Zealot suggests that Jesus lead his mob in a war against Rome and gain absolute power. Jesus rejects this, stating that none of his followers understand what true power is ("Simon Zealotes/Poor Jerusalem"). Pontius Pilate, the governor of Judea, has a dream in which he meets a Galilean and then receives the blame for the man's violent death at the hands of a mob ("Pilate's Dream"). Jesus arrives at the Temple and finds that it is being used as a marketplace; angered by this, he drives everyone out ("The Temple"). A group of lepers ask Jesus to heal them. Their number increases, and overwhelmed, Jesus rejects them. Mary Magdalene sings him to sleep ("Everything's Alright (Reprise)"). While he sleeps, Mary acknowledges that she is in love with him, and it frightens her ("I Don't Know How to Love Him"). Conflicted, Judas seeks out the Pharisees and proposes helping them arrest Jesus, believing that Jesus is out of control and that Jesus himself would approve of his action. In exchange for his help, Judas is offered thirty pieces of silver. Judas initially refuses, then accepts when Caiaphas suggests that he can use the money to help the poor ("Damned for All Time/Blood Money"). Act II At the Last Supper, Jesus is stung when the others get drunk and pay little attention to him. He remarks that "for all you care" the wine they are drinking could be his blood and the bread his body. He asks them to remember him, then frustrated by their lack of understanding, he predicts that Peter will deny him three times that night, and that another one of them will betray him. Judas admits that he is the one who will betray Jesus and, saying that he does not understand why Jesus did not plan things better, leaves ("The Last Supper"). The remaining apostles fall asleep, and Jesus retreats to the Garden of Gethsemane to pray ("Gethsemane (I Only Want to Say)"). He tells God his doubts about whether his mission has had any success, and angrily demands to know why he should continue and suffer the horrible death that awaits him. Receiving no answer, he realises that he cannot defy God's will, and surrenders to God. Judas arrives with Roman soldiers and identifies Jesus by kissing him on the cheek ("The Arrest"). When Jesus is brought to trial before the Sanhedrin, Caiaphas demands to know if he calls himself the Son of God, and Jesus responds merely "That's what you say". Caiaphas says that this is sufficient evidence and sends him to Pilate. Meanwhile, Peter is confronted by three people, to whom he denies that he knows Jesus ("Peter's Denial"). Mary observes that Jesus had predicted this. Pilate asks Jesus if he is the King of the Jews. Jesus again answers "That's what you say". Since Jesus is from Galilee, Pilate says that he is not under his jurisdiction and sends him to King Herod ("Pilate and Christ"). The flamboyant King Herod asks Jesus to prove his divinity by performing miracles ("King Herod's Song"), but Jesus ignores him. Herod angrily sends him back to Pilate. Mary Magdalene, Peter, and the apostles remember when they first began following Jesus, and wish that they could return to a time of peace ("Could We Start Again, Please?"). Judas is horrified at Jesus's harsh treatment. He expresses regret to the Pharisees, fearing that he will forever be remembered as a traitor. Caiaphas and Annas assure him that he has done the right thing. Judas throws down the money he was given and storms out. He curses God for manipulating him, and commits suicide ("Judas's Death"). At Jesus's trial, Pilate attempts to interrogate Jesus, but is cut off by a bloodthirsty mob which demands that Jesus be crucified.[3] He tells the mob that Jesus has committed no crime and does not deserve to die, but to satisfy the mob he will have Jesus flogged ("Trial Before Pilate"). Pilate pleads with Jesus to defend himself, but Jesus says weakly that everything has been determined by God. The crowd still calls for Jesus's death and finally Pilate reluctantly agrees to crucify Jesus. As Jesus awaits crucifixion, the spirit of Judas returns and questions why Jesus chose to arrive in the manner and time that he did, and if it was all part of a divine plan ("Superstar"). Jesus is crucified, recites his final words and dies ("The Crucifixion"). Jesus' body is taken down from the cross and then buried into a near cave to the mountain where he died ("John Nineteen: Forty-One"). Principal roles Character Voice type Description Jesus Christ tenor (A2–G5) Title role, leader of the twelve disciples, called the "Son of God" and the "King of the Jews." Judas Iscariot tenor (D3–D5) One of Jesus' twelve apostles; concerned for the poor and the consequences of Jesus's fame. Mary Magdalene mezzo-soprano (F3–E♭5) A female follower of Jesus who finds herself falling in love with him. Pontius Pilate baritone / tenor (A2–B♭4) Governor of Judea who foresees the events of Jesus's crucifixion from beginning to aftermath in a dream and finds himself being presented with that very situation. Caiaphas bass (C♯2–F4) High priest who sees Jesus as a threat to the nation. Annas countertenor (G2–D5) Fellow priest at the side of Caiaphas who is persuaded by Caiaphas into seeing Jesus as a threat. Peter baritone (A2–G4) One of Jesus's twelve apostles; denies Jesus three times upon the night of Jesus's arrest to save himself. Simon Zealotes tenor (G3–B4) One of Jesus's twelve apostles; urges Jesus to lead his followers into battle against the Romans. King Herod baritone (C♯3–G4) The King of Galilee; Jesus is brought to him for judgment after first being taken to Pilate. Musical numbers Act One "Overture" – Orchestra "Heaven on Their Minds" – Judas "What's the Buzz?/Strange Thing, Mystifying" – Jesus, Judas, Mary and Apostles "Everything's Alright" – Mary, Judas, Jesus, Women and Apostles "This Jesus Must Die" – Caiaphas, Annas and High Priests "Hosanna" – Jesus, Caiaphas and Company "Simon Zealotes/Poor Jerusalem" - Simon, Jesus and Company "Pilate's Dream" – Pilate "The Temple" – Jesus and Lepers "Everything's Alright (Reprise)" – Mary and Jesus "I Don't Know How to Love Him" – Mary "Damned for All Time/Blood Money" - Judas, Caiaphas, Annas and Choir Act Two "The Last Supper" – Jesus, Judas and Apostles "Gethsemane (I Only Want to Say)" – Jesus "The Arrest" – Judas, Jesus, Peter, Apostles, Caiaphas, Annas and Ensemble "Peter's Denial" – Maid by the Fire, Peter, Soldier, Old Man and Mary "Pilate and Christ" – Pilate, Jesus, Annas and Ensemble "King Herod's Song" – Herod "Could We Start Again Please?" – Mary, Peter and Ensemble "Judas' Death" – Judas, Caiaphas, Annas and Ensemble "Trial Before Pilate" – Pilate, Jesus, Caiaphas and Ensemble "Superstar" – Judas, Soul Sisters and Angels "The Crucifixion" – Jesus and Ensemble "John Nineteen:Forty-One" – Orchestra Production Main article: Jesus Christ Superstar (album) The songs were first written and conceived as an album musical, before the musical was created and staged.[4] On the original album, the part of Jesus was sung by Ian Gillan, with Murray Head as Judas, Michael d'Abo as King Herod, Yvonne Elliman as Mary Magdalene, and Barry Dennen as Pilate. In July 1971, the first authorised American concert of the rock opera took place in front of an audience of 13,000 people at Pittsburgh, Pennsylvania's Civic Arena with Jeff Fenholt singing the role of Jesus, Carl Anderson as Judas and Elliman repeating as Mary Magdalene.[5] In August 1971, MCA Records executive David Skepner reported that MCA had been investigating and shutting down 21 unauthorised productions in the US to protect the rights of London-based Leeds Music who owned the musical. The biggest violations Skepner found were a theatre troupe from Toronto that had crossed the US–Canada border to perform with the Detroit Symphony Orchestra, with only a few hours prior announcement, and another big production mounted by the Las Vegas Hilton. Other American cities with unauthorised productions included Washington D.C., Boston, Kansas City, Baltimore, San Francisco, Cincinnati, Richmond, Louisville, Cleveland, St. Louis, Memphis, Atlanta, Columbus, Troy, Philadelphia, Los Angeles, New Orleans, Brooklyn in New York City and Hollywood, Florida. Court injunctions were obtained in each of these cities to close the shows. Producer Robert Stigwood, who was assembling an authorised touring company, called these unsanctioned groups "outright pirates", stressing that he would continue to protect his rights by "relentlessly" pursuing legal action.[6] Original Broadway production The musical opened on Broadway on 12 October 1971, directed by Tom O'Horgan, at the Mark Hellinger Theatre. It starred Jeff Fenholt as Jesus, Ben Vereen as Judas and Bob Bingham as Caiaphas. Dennen and Elliman played the roles that they had sung on the album. Paul Ainsley was Herod.[citation needed] Anderson replaced Vereen when he fell ill, and the two performers later took turns playing the role. The show closed on 30 June 1973 after 711 performances. The production received mixed reviews; the bold casting of African-Americans as Judas was lauded, but reviewer Clive Barnes from The New York Times said, "the real disappointment was not in the music ... but in the conception."[7][8] The show was nominated for five Tony Awards, including Best Score, but won none. Lloyd Webber won a Drama Desk Award as "Most Promising Composer", and Vereen won a Theatre World Award. Controversy The Broadway show and subsequent productions were condemned by some religious groups. Tim Rice was quoted as saying "It happens that we don't see Christ as God but simply the right man at the right time at the right place."[9][10] Some Christians considered such comments to be blasphemous, the character of Judas too sympathetic and some of his criticisms of Jesus offensive.[11] The musical's lack of allusion to the resurrection of Jesus has resulted in criticism similar to that of fellow musical Godspell, which also did not clearly depict the resurrection. At the same time, some Jews claimed that it bolstered the antisemitic belief that the Jews were responsible for Jesus's death by showing most of the villains as Jewish (Caiaphas and the other priests, Herod) and showing the crowd in Jerusalem calling for the crucifixion.[12][13] The musical was banned in South Africa for being "irreligious".[14] A 1972 production of the play was banned in the Hungarian People's Republic for "distribution of religious propaganda".[15] Other 1970s and 1980s productions Paul Nicholas in Jesus Christ Superstar Superstar opened at the Palace Theatre in London in 1972, starring Paul Nicholas as Jesus, Stephen Tate as Judas and Dana Gillespie as Mary Magdalene. It was directed by Australian Jim Sharman. This production was much more successful than the original production on Broadway, running for eight years and becoming the United Kingdom's longest-running musical at the time. Dmitri Shostakovich attended this production in London just before his death. He regretted that he could not have composed something like it; he lauded especially a rock band underpinning full symphonic strings, brass and woodwind.[16] One of the earliest foreign productions was a five-day run in Sweden at Scandinavium in Gothenburg, opening on 18 February 1972 and playing to 74,000 people (a record at the time). Starring as Mary Magdalene was Agnetha Fältskog. On 16 March 1972 an oratorio version was performed at Memorial Drive Park in Adelaide, South Australia as part of the Adelaide Festival of the Arts.[17] This was followed in May by the first full Australian production, at the Capitol Theatre, Sydney, later moving to the Palais Theatre in Melbourne.[18] Sharman again directed, and the cast included Trevor White as Jesus, Jon English as Judas, and Michele Fawdon (1972–1973) and Marcia Hines (1973–1974) as Mary Magdalene. Hines was the first black woman to play the role. Other cast members included Reg Livermore, John Paul Young, Stevie Wright and Rory O'Donoghue as well as Graham Russell and Russell Hitchcock who met during the production and subsequently formed the band Air Supply. The production ran until February 1974.[citation needed] In June 1972 the show opened in Belgrade, Yugoslavia, in Atelje 212 theatre, in adaptation by Jovan Ćirilov.[19] The role of Jesus Christ was played by Korni Grupa vocalist Zlatko Pejaković, the role of Mary Magdalene by Azra Halinović and the role of Pontius Pilate by Branko Milićević.[19] The premiere was directly broadcast by Radio Television of Belgrade.[19] Bora Đorđević and Srđan Marjanović, at the time little known musicians, also participated as members of the choir.[20][21] The production was praised by the Yugoslav public.[19] In 1973, the show opened in Paris at the Théâtre de Chaillot in a French adaptation by Pierre Delanoë. The title role was sung by Daniel Beretta, and Mary Magdalena was Anne-Marie David. The critics were unimpressed, and the production stopped after 30 performances.[citation needed] In the same year, Noel Pearson produced the show at the Gaiety Theatre, Dublin, Republic of Ireland, with Luke Kelly giving a critically acclaimed performance as King Herod.[22] In 1974, first Spanish-language production ran in Mexico with the title "Jesucristo Super Estrella". Julissa played Mary Magdalen. One year later, the musical was released for the second time on a spanish-speaking country. It was released on Spain under the title "Jesucristo Superstar" and directed by the spanish singer and song-writter Camilo Sesto, who also played the title role of Jesus Christ. The musical was seen in 1974 in Peru and Singapore.[23] Robert Stigwood launched two road touring companies in 1971 to cover North America, with Robert Corff and Tom Westerman as Jesus, respectively.[citation needed] The first major US National Tour, however began In 1976, managed by Laura Shapiro Kramer. The tour continued until 1980. In 1977, the show had its first Broadway revival, running from 23 November 1977 to 12 February 1978. It was directed by William Daniel Grey, with choreography by Kelly Carrol and starred William Daniel Grey as Jesus, Patrick Jude as Judas, and Barbara Niles as Mary Magdalene.[24] Regional productions followed.[citation needed] In 1981, Emilio de Soto directed an English-language version in Venezuela, with 163 actors.[citation needed] From 1982 to 1984, an Australian production toured Australia and South-East Asia, directed by Trevor White, who also reprised his role of Jesus. The cast included Doug Parkinson as Judas and Marcia Hines (reprising her role as Mary Magdalene).[citation needed] 1990s and 2000s The North American touring revival of Superstar in 1992 starred Neeley and Anderson reprising their respective Broadway and 1973 film roles as Jesus and Judas, receiving positive reviews for their performances. This production also starred both Dennis DeYoung as Pilate, and Syreeta and Irene Cara sharing Mary Magdalene. Originally expected to run for three to four months, the tour ended up running for five years. Original cast replacements to this tour included Christine Rea as Mary Magdalene, Jason Raize as Pontius Pilate and Simone as the Maid by the Fire and understudy for Mary. In 1994, a New Zealand production starred Darryl Lovegrove as Jesus, Jay Laga'aia as Judas and Frankie Stevens as Caiaphas. Also in 1994, a stage version titled Jesus Christ Superstar: A Resurrection was performed in Atlanta, Austin and Seattle featuring Amy Ray and Emily Saliers of the Indigo Girls as Jesus and Mary Magdalene respectively, and Michael Lorant as Judas. In 1996, the musical was revived in London at the Lyceum Theatre and ran for a year and a half. Directed by Gale Edwards, it starred Steve Balsamo and Zubin Varla as Jesus and Judas, and Joanna Ampil as Mary Magdalene. Alice Cooper sang the role of King Herod on the cast recording, but did not play the role on stage. The production was nominated for an Olivier Award for Best Musical Revival but did not win. It was followed by a UK tour. This production was revived on Broadway at the Ford Center for the Performing Arts in 2000, starring Glenn Carter as Jesus and Tony Vincent as Judas. It opened to mixed reviews and ran for 161 performances.[25] It was nominated for a Tony Award for Best Revival of a Musical but did not win. In 2002, a national tour starred Sebastian Bach as Jesus and Anderson once again as Judas. Bach received mixed reviews while Anderson was again praised. In April 2003, Bach was replaced by Eric Kunze. Anderson left the show later in 2003 after being diagnosed with leukaemia and died in 2004. The tour closed shortly after Anderson's departure. In 2004 a year-long UK tour began, directed by Bob Tomson and Bill Kenwright. Carter reprised his role as Jesus, with James Fox as Judas. In 2005, a successful Scandinavian tour starred Australian Peter Murphy (Jesus), American Kristen Cummings (Mary), Englishman Jon Boydon née Stokes (Judas), Frenchman Jérôme Pradon (King Herod) and Australian Michael-John Hurney (Pilate). A US tour starring Neeley, reprising his role as Jesus, Corey Glover as Judas, and Christine Rea as Mary, began in 2006 and played for five years. A Chilean heavy metal version has played annually in Santiago since 2004.[26] In Boston, Gary Cherone portrayed Jesus in productions in 1994, 1996 and 2003 and Judas in 2000. 2010s A new production of Jesus Christ Superstar was mounted at the Stratford Shakespeare Festival, in Stratford, Ontario, in 2011. Directed by Des McAnuff, the cast starred Paul Nolan as Jesus, Josh Young as Judas, Brent Carver as Pilate, Chilina Kennedy as Mary Magdalene, Bruce Dow as Herod and Melissa O'Neil as Martha. This moved to La Jolla Playhouse later in the year and transferred to the Neil Simon Theatre on Broadway in 2012, with Tom Hewitt taking over the role of Pilate.[27] Reviews were mixed.[28][29] The revival was nominated for two Tonys: Best Revival and, for Young, Best Actor.[30] Neither award was won, but Young won a Theatre World Award. The revival closed after 116 performances and 24 previews.[31] Through a 2012 ITV competition TV show called Superstar, produced by Andrew Lloyd Webber, the UK public chose Ben Forster for the role of Jesus in an arena tour of the musical, beginning at O2 in September 2012.[32][4] The production also starred Tim Minchin as Judas, Melanie C as Mary Magdalene and Chris Moyles as King Herod.[33] Lloyd Webber stated, "The funny thing is that Jesus Christ Superstar [as a rock concert] is what we actually intended it to be. When it is done in a conventional proscenium theatre production it feels shoe-horned in. That is why I wanted to do this."[4] The tour resumed in March 2013 in the UK, and an Australian leg of the tour commenced in Perth in May 2013.[34] Andrew O'Keefe played King Herod in Australia, with Jon Stevens as Pilate. Stevens had played Judas in an Australian arena tour in 1992.[35][36] In 2017, a production featuring an all-Black cast was directed by Ron Kellum at the Paramount Theatre in Aurora, IL. Kellum's production ran from April 19, 2017 through May 28, 2017.[43][44] Notable international productions 2013 production in Rotterdam, Netherlands Two notable Jesuses were Takeshi Kaga, in the 1976 Japanese production, and Camilo Sesto in the 1975 Spanish production[why?]. Mary Magdalene was played by Rocío Banquells in a 1981 production in Mexico. A Czech version premiered in 1994 in Prague's Spirála Theatre and ran until 1998, with 1288 performances.[45] In the 2000s, a Venezuelan production ran for two years (2006–2008), directed by Michel Hausmann. A Spanish production produced by Stage Entertainment ran from 2007 to 2009, followed by long-running productions in Italy and Sweden (featuring Ola Salo) and Norway. Concerts of the show have been mounted in Vienna, Austria, since 1981, including one on Easter of 2015 starring Drew Sarich in the title role.[46] In 2010, an Australian production presented by Harvest Rain Theatre Company was directed by Tim O'Connor. Luke Kennedy appeared as Jesus, Naomi Price as Mary, Tod Strike as Judas, and Steven Tandy as Herod. A 2017 Professional Australian Production was staged at the Arts Centre Melbourne and starred Rob Mills as Jesus. A 2014 production in São Paulo, Brazil starred Igor Rickli as Jesus. Negra Li was Mary Magdalene.[47] A 2014 production in Lima, Peru, at the Sarita Colonia prison, as part of a rehabilitation program for inmates, received some press.[48] Eighty prisoners mounted the production, directed by inmate Freddy Battifora, who also played the role of Jesus.[49] The Catholic Church approved of the production.[49] In 2018, a new production, directed by Michael Hunt was premiered at the Perm Academic Theatre, Russia. Hunt worked closely with The Really Useful Group on a new translation together with the concept for a new staging. This rock opera is very popular in Russia but is the first authorised production to receive the support of the Really Useful Group. Recordings and radio broadcasts The original 1970 concept album was very popular; its 1971 release topped the US Billboard Pop Albums.[50] The 1972 and 1992 Australian cast recordings were also both highly successful.[51] In 1994, a studio recording under the name of Jesus Christ Superstar: A Resurrection was released. A 1996 radio production for BBC Radio 2 starred Tony Hadley as Jesus, Roger Daltrey as Judas, Frances Ruffelle as Mary Magdalene and Julian Clary as King Herod; this production was re-broadcast on BBC Radio 4 Extra on 6 August 2016.[52] In May 2018, Aztec Records released a 1973 live recording of the Australian production; previous recordings of that production were released as "bootleg" copies.[53] Films A film adaptation of Jesus Christ Superstar was released in 1973. The film, directed by Norman Jewison, was shot in Israel[54] and other Middle Eastern locations. Ted Neeley, Carl Anderson and Yvonne Elliman were each nominated for a Golden Globe Award for their portrayals of Jesus, Judas and Mary Magdalene, respectively. Bob Bingham (Caiaphas) and Barry Dennen (Pilate) also reprised their roles. A new song, called "Then We Are Decided" and phrased as a dialogue between Caiaphas and Annas, was written for this adaptation. A second adaptation was filmed in 1999, and released around the world on video in 2000 and 2001.[55] It starred Glenn Carter as Jesus, Jérôme Pradon as Judas, Reneé Castle as Mary Magdalene, and Rik Mayall as Herod, and was directed by Gale Edwards and Nick Morris. It was released on video in the UK in October 2000.[56] In the U.S. it was released on VHS and DVD in March 2001, and aired on PBS's Great Performances series in April 2001.[57] It won the International Emmy Award for Best Performing Arts Film in November 2001.[58] The style of the film is more like the stage version than the location-based 1973 adaptation, and it used many of the ideas from the 1996–1999 UK production.[55] The 2012 UK arena tour pro-shot was released on the 19th November 2012, with Ben Forster as Jesus. Television Main article: Jesus Christ Superstar Live in Concert On Easter Sunday, 1 April 2018, NBC aired a live concert version of the show featuring John Legend as Jesus, Sara Bareilles as Mary Magdalene, Brandon Victor Dixon as Judas, Alice Cooper as King Herod, Norm Lewis as Caiaphas, Ben Daniels as Pilate, Jin Ha as Annas, Erik Grönwall as Simon Zealotes and Jason Tam as Peter.[59] Two years later, on Easter Sunday, 12 April 2020, the show was re-broadcast on NBC, with many U.S. households observing Easter at home while practicing social distancing during the -19 pandemic.[60] Usage A melody from the Last Supper scene was used for three offertory hymns in German, "Nimm, o Gott, die Gaben, die wir bringen" (Accept, o Lord, the gifts we bring) with text by Raymund Weber, and two others. Principal roles and casting history Character Concept Album (1970)[61] Broadway (1971)[62] West End (1972)[63] Broadway Revival (1977)[64] West End Revival (1996)[65] Broadway Revival (2000)[66] Broadway Revival (2012)[67] UK Arena Tour (2012)[68] US Tour (2019)[69] Jesus Christ Ian Gillan Jeff Fenholt Paul Nicholas William Daniel Grey Steve Balsamo Glenn Carter Paul Alexander Nolan Ben Forster Aaron LaVigne Judas Iscariot Murray Head Ben Vereen Stephen Tate Patrick Jude Zubin Varla Tony Vincent Josh Young Tim Minchin James Delisco Beeks Mary Magdalene Yvonne Elliman Dana Gillespie Barbara Niles Joanna Ampil Maya Days Chilina Kennedy Melanie C Jenna Rubaii Caiaphas Victor Brox Bob Bingham George Harris Christopher Cable Pete Gallagher Frederick B. Owens Marcus Nance Pete Gallagher Alvin Crawford Pontius Pilate Barry Dennen John Parker Randy Wilson David Burt Kevin Gray Tom Hewitt Alexander Hanson Tommy Sherlock Annas Brian Keith Phil Jethro Jimmy Cassidy Steve Schochet Martin Callaghan Ray Walker Aaron Walpole Gerard Bentall Tyce Green Simon Zealotes John Gustafson Dennis Buckley Derek James Bobby London Glenn Carter Michael K. Lee Lee Siegel Giovanni Spano Eric A. Lewis Peter Paul Davis Michael Jason Richard Barnes Randy Martin Jonathan Hart Rodney Hicks Mike Nadajewski Michael Pickering Tommy McDowell King Herod Mike d'Abo Paul Ainsley Paul Jabara Mark Syers Nick Holder (Alice Cooper in cast recording) Paul Kandel Bruce Dow Chris Moyles Paul Louis Lessard Awards and nominations Original Broadway production Year Award ceremony Category Nominee Result 1972 Tony Award Best Performance by a Featured Actor in a Musical Ben Vereen Nominated Best Original Score Andrew Lloyd Webber and Tim Rice Nominated Best Scenic Design Robin Wagner Nominated Best Costume Design Randy Barceló Nominated Best Lighting Design Jules Fisher Nominated Drama Desk Award Most Promising Composer Andrew Lloyd Webber Won Theatre World Award Ben Vereen Won 1996 London revival Year Award ceremony Category Nominee Result 1997 Laurence Olivier Award Best Musical Revival Nominated 2000 Broadway revival Year Award ceremony Category Nominee Result 2000 Tony Award Best Revival of a Musical Nominated 2012 Broadway revival Year Award Category Nominee Result 2012 Tony Award Best Revival of a Musical Nominated Best Performance by a Featured Actor in a Musical Josh Young Nominated Drama Desk Award Outstanding Revival of a Musical Nominated Outstanding Sound Design Steve Canyon Kennedy Nominated Theatre World Award Josh Young Won 2016 London revival Year Award Category Nominee Result 2016 Evening Standard Theatre Award[37] Best Musical Won Emerging Talent Tyrone Huntley Won 2017 Laurence Olivier Award[70] Best Musical Revival Won Best Actor in a Musical Tyrone Huntley Nominated Best Theatre Choreographer Drew McOnie Nominated Best Lighting Design Lee Curran Nominated Best Sound Design Nick Lidster for Autograph Nominated Outstanding Achievement in Music The band and company Nominated Further reading Robert M. Price. Jesus Christ Superstar: The Making of a Modern Gospel. eBookIt. 2011. Ellis Nassour, Richard Broderick. Rock Opera: The Creation of Jesus Christ Superstar, from Record Album to Broadway Show and Motion Picture. Hawthorn Books, 1973.
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