Latest news with #JesusChristSuperstar
Time Out
19 hours ago
- Entertainment
- Time Out
Gerónimo Rauch, the Argentine who conquered Europe and returns home with ‘Cinema All In'
Known as 'the Argentine who made it big in European musicals,' he has starred in none other than Jesus Christ Superstar, Les Misérables, The Phantom of the Opera, and The Physician, earning applause and admiration wherever he goes. Yes, Gerónimo Rauch is synonymous with musical theater, but he has also become Argentina's very own 'crooner'—in the style of Frank Sinatra or Michael Bublé—who captivates audiences on stage by performing songs from every genre with undeniable talent, charisma, and versatility. He always celebrates the chance to return home, and this time he arrives at Espacio Origami to present Cinema All In, an intimate dinner show that pays tribute to the greatest songs from the silver screen. It's a 360-degree immersive experience featuring 25 performers on stage including musicians, dancers, and singers. The powerful musical menu is accompanied by top-tier cuisine, promising a one-of-a-kind evening of music perfectly paired with an exclusive dinner. The setlist? Songs from films such as The Godfather, Footloose, La La Land, A Star Is Born, Rocky, and Singin' in the Rain, among many other iconic movie soundtrack classics. You might also like: The best musicals currently playing in Buenos Aires Looking back on his childhood, Rauch describes it as 'wonderful, full of music and fond memories,' although his decision to become an artist came later—he never imagined himself in the place he occupies today. At 17, he had the opportunity to record songs for the TV show Verano del 98 and, thrilled, stepped into a professional recording studio for the first time. But when asked about his big break, he's quick to clarify: 'It came in 2000, when after several rounds of auditions, I was chosen to be part of Les Misérables.' 'My big break came in 2000, when I was cast in Les Misérables ' His debut at Teatro Ópera with that production, he says, 'was the greatest gift.' From there, dreams slowly started to come true—step by step, but steadily—until he became the lead in some of the most acclaimed musicals in Spain and London. In Buenos Aires, he has already performed three times at the Teatro Colón and hopes there will be many more. 'It's such a powerful experience to step onto that stage,' he confesses, 'I'll always keep preparing for the next opportunity.' You're known as the Argentine who conquered the European musical theater scene. Was it a tough road? Thanks for the compliment! I think every artist's path is difficult because of the instability that comes with this profession. But every character I've played has taught me something—I've always kept evolving and growing. Today, after all I've experienced, my life in Spain is very peaceful: I work and I'm also a father. I can honestly say I live a simple, happy life. You've played Jesus Christ, Jean Valjean, the Phantom, and the Doctor in The Physician. All very different characters—how do you approach each role? Whenever I start shaping a character, I try to be a blank slate and fully trust the creative team's direction. Often, I'll do some background research if there's an original novel—which is usually the case—but then I just let myself play until I find the character's truth within me. You've also developed a musical career in parallel, with albums and live performances. What kind of repertoire do you enjoy most and why? I enjoy it all. I love telling other people's stories in musicals just as much as I love sharing my own in concerts. At the end of the day, it's all about creating emotion—that's the magic of our profession. 'Our profession is all about creating emotions' Do you prefer acting, singing, or dancing? Unfortunately, I can't dance at all—which is why I chose the best dancers and choreographers for Cinema All In! I think singing and acting are the best ways for me to express myself. What can audiences expect from the show you're bringing to Buenos Aires? It's the most incredible show I've ever produced in my solo career. There's definitely a before and after for me with this concept, which combines performance, music, gourmet dining, emotions, 25 artists on stage, and a soundtrack that everyone knows and loves—the music that has scored our lives. ' Cinema All In is the most incredible show I've ever produced in my solo career' What do you love most about coming back to Argentina? The people. Argentina is so special—our DNA is unique. We're passionate, generous, we live everything intensely, and as an artist, that's something to be deeply grateful for. BUENOS AIRES PING PONG A restaurant: Río Alba A musical: Les Misérables A play: The Road to Mecca A childhood dish: Ñoquis del 29 A neighborhood: Palermo A night out with friends: Dinner at Río Alba A tip for tourists: Visit San Telmo and La Boca When and where: June 26, 27, and 28; July 3, 4, and 5 at Espacio Origami, Guiraldes 7350, Costanera Norte. Tickets: Link here.
a day ago
- Entertainment
Un renard euthanasié pour un cas de rage à Ottawa
Getting your Trinity Audio player ready... In a moment that captures the spirit of our cultural age, comedian Stephen Colbert recently celebrated the casting of Cynthia Erivo as Jesus in Andrew Lloyd Webber and Tim Rice's Jesus Christ Superstar at the Hollywood Bowl. The talk show host, who frequently touts his Roman Catholic faith, called the casting 'long overdue.' Erivo, a bald, black, self-described bisexual British actress who uses 'they/them' pronouns, will become the first woman to portray Jesus in a major production of the musical. Colbert struggled to contain his excitement. But what, precisely, is being celebrated? Colbert's enthusiasm is not an isolated gesture. This is reflective of our cultural malaise whereby ideological agendas take precedence over truth and tradition. Just as in biblical times, idolatry remains a central feature of our age, perhaps even more pervasive and sophisticated. Today it is not the worship of carved statues but the elevation of progressive ideologies that seek to displace God. Essential truths are not merely ignored but actively reimagined under the banner of diversity, equity, and inclusion, along with appeals to creativity and progress. This is not, as some claim, an effort to give voice to the marginalized. Any astute observer of our culture can see that it is a theological distortion: a recasting of God in our own image to suit contemporary tastes and agendas. Even well-meaning thinkers who speak of faith or divine truth can fall into this trap when God is reduced to an abstract or subjective principle. Jesus is not a figure to be reshaped according to personal or cultural preferences. He is a historical person. Apart from those who seek to subvert Christianity, we must remember that Jesus is neither a Jungian archetype nor an abstract object. He is the incarnation of the second person of the Holy Trinity (God the Son), who is fully divine and fully human. He is a person who entered into our world at a specific moment in history, through specific people, in an actual and physical body. This is not some metaphor. It is a concrete event, despite being mysterious and miraculous, that occurred in human history. And as such, the Incarnation is not something we are free to reshape to fit current cultural trends that cater to identity politics. It is an eternal truth that stands at the heart of Christian faith and has direct consequences for our salvation. Therefore, a Jesus who is not male, not Jewish, and not rooted in the world of first-century Galilee is simply not the Jesus we find in the Gospels nor one who has the power to redeem. Therefore, a Jesus who is not male, not Jewish, and not rooted in the world of first-century Galilee is simply not the Jesus we find in the Gospels nor one who has the power to redeem. Tweet This To envision what is truly at stake here, let's consider the thought of the early Church Fathers. The early Church Fathers understood this with clarity. They taught that redemption is directly tied to what Christ took on in becoming human. As St. Gregory of Nazianzus put it, 'That which He has not assumed He has not healed; but that which is united to His Godhead is also saved.' In other words, Jesus had to 'take on' the fullness of human nature in order to heal and redeem it. His intervention was not a symbolic gesture or a selective act. It was a real and singular event in human history, an act of love that touches every part of who we are. St. Gregory argued that Jesus was fully human in every way except for sin. For those who affirm free will, sin is not intrinsic to human nature but a contingent possibility. It is an immoral action rather than a necessary feature of what it means to be human. Jesus is the perfect human, so sin would make us in some sense subhuman. St. Gregory articulated this view in response to the fourth-century heresy of Apollinarianism, a heresy that taught that Jesus had a human body and soul but lacked a rational human mind. (Apollinaris claimed that Christ had solely a divine mind.) Gregory opposed this, insisting that if Christ did not assume a rational human mind, then that aspect of humanity would remain unsaved. This view was officially condemned at the First Council of Constantinople in 381, thereby affirming the Church's commitment to the full humanity of Christ. Given the Church Fathers' emphasis on assumption under the context of undertaking a complete human nature, this theological insight has profound implications. If Jesus had to assume every aspect of human nature in order to redeem it, then His maleness is not an unplanned feature but essential to the Incarnation. Jesus being born a first-century Jewish male was not as a cultural accident but part of God's intentional plan. His maleness is embedded in the typological, covenantal, and sacramental structure of salvation history. He is the New Adam who undoes the sin of the first man (Romans 5:12-21). He is the Bridegroom (John 3:29) who lays down His life for the Church, His Bride. He is the eternal High Priest who offers the perfect sacrifice (Hebrews 4:14-16). These roles define the order of salvific history and are not haphazard or decided by contingent socio-cultural events. They are grounded in the revealed logic of Scripture and the theological identity of Christ. The mere suggestion that Jesus could have been incarnated as a woman repudiates God's plan and the purpose of Incarnation; it controverts sound theological doctrine. It is important for modern ears to realize that this is not a question of dignity or value but of doctrinal coherence. Jesus did not assume a generic human nature. He assumed a specific human nature—including a rational mind, a male body, and a historical-cultural identity—to redeem the whole of humanity through that particularity. Altering His identity, even in the name of artistic expression or inclusion, misrepresents the very nature of salvation. To reinterpret Christ's identity, such as portraying Him as a woman, is not a harmless artistic liberty. It undermines the theological coherence of the Incarnation and risks leading people into error about who Christ is and what He came to do. Without a doubt, Jesus Christ Superstar has always been problematic. From its debut in the 1970s, the rock opera reduced the Gospel to existential angst and human misunderstanding, portraying Judas as a tragic hero and downplaying, if not outright denying, the Resurrection. But what we are seeing now is a much deeper level of desecration. Jesus is being remodelled in the image of postmodern identity politics, under the guise of inclusion and progress. In Erivo's own words, this is 'a very special thing.' Yes, but not for the reasons she or Colbert imagine. This is the crowning of a new secular dogma based on the teachings of the LGBTQIA2S+ movement. The Jesus of this production is not the Lamb of God who takes away the sins of the world. In the eyes of postmodern ideology, Jesus is no longer the Savior but a symbol of inclusivity and rebellion. It is the Gospel emptied of its theological content and rebranded as therapeutic theatrics. But no amount of musical talent or vocal range can compensate for the loss of truth. An ideologically-shaped Christ is as distant from the one true Christ as Heaven is from Hell. It is not entirely surprising that Colbert would express such views, given that he has long distanced himself from traditional Catholic teaching. In truth, it is unclear which doctrines he actually upholds, especially considering his public association with figures like the heterodox Fr. James Martin. The deeper concern, however, lies in the fact that Colbert identifies as Catholic. For those unfamiliar with the Church's actual teachings, both within and outside its visible boundaries, this can be deeply misleading and may lead many into confusion about what the Catholic Faith truly affirms. Yet the confusion he represents is not unique. It is symptomatic of a Church, especially in the West, that has grown silent, ambiguous, and compromised in the face of cultural pressure. We are told that to resist this is to be hateful, bigoted, or backward thinking. However, emotions or social trends do not dictate what is true. Insisting on portraying Jesus as male does not diminish the dignity of women or those struggling with issues related to identity. But rather, it is to affirm the logic and truth of the Gospel. Jesus came to fulfill the Scriptures not conform to the shifting demands of the age. These roles are not arbitrary. They are deeply embedded in the typology and logic of divine revelation. To ignore these roles is not merely to play with aesthetics. It is to tamper with the meaning of salvation itself. This latest production at the Hollywood Bowl will attract applause, media coverage, and predictable denunciations of anyone who dares to question it. However, we Christians must resist the pressure to remain silent. Our judgment of falsehoods does not stem from our disdain for beauty or creativity or because we harbor resentment toward our opponents. On the contrary, we honor truth and beauty by preserving their proper intrinsic value. We must speak the truth out of love for those we disagree with and those who persecute us. As Pope Benedict XVI recognized, art and beauty must always be at the service of truth; otherwise, they risk becoming extravagant public debauchery, as in the case of the upcoming Jesus Christ Superstar , which serves to mask a theological void—the absence of any serious engagement with the Incarnation, the Cross, and the Resurrection. As Christians, who affirm that Jesus is Lord, we must reject all the misrepresentations of Him. And we should do so peacefully but with clarity, courage, and compassion at the service of truth. Part of rescuing this downward-spiralling culture is to reclaim the sacred from the hands of those desecrating it. Jesus was crucified not for being inclusive or symbolic but for the exact opposite: for declaring Himself the Way, the Truth, and the Life. That's why people rejected Him. Humans, in their fallen nature, have a propensity to turn away from truth. Perhaps that is the most ironic twist of all. In seeking to make Jesus relatable in our troubled times, Colbert and company have merely joined the chorus that once shouted, 'Crucify Him!' But the true Christ remains unchanged: 'Jesus Christ is the same yesterday and today and for ever' (Hebrews 13:8).
The Age
4 days ago
- Entertainment
- The Age
Fans waited patiently as Barnesy played his new songs. Then something magical happened
From here, the set lifts considerably. Barnes introduces his wife Jane on backing vocals and occasionally bagpipes, and daughter Mahalia, who's raced from the Princess Theatre, where she's Mary in Jesus Christ Superstar. They duet on Good Times, with Mahalia taking Michael Hutchence's part. Ride the Night Away and Working Class Man unite the crowd. The final encore of Khe Sanh clinches it: we're in the presence of something bigger than us, bigger than Barnesy even. It's yearning, living, a piece of history. Perhaps it didn't need wailing two guitar solos and a Hammond organ solo. Outside, a busker dressed as a pirate axes through Working Class Man on an acoustic. It's a bold gambit, following Barnesy on his own material – but a song like that is bigger than any of us. Reviewed by Will Cox JAZZ James Shortland Quartet & Lerner / Jansen / Greenhill ★★★★ The JazzLab, June 15 One of the most valuable aspects of the Melbourne Jazz Co-operative's weekly presentations at JazzLab is the platform it provides for young and emerging artists, helping them establish a profile with local audiences. Sunday night's double bill paired two youthful ensembles that shared the same drummer (Sydney's George Greenhill). The opening set was led by bassist James Shortland, who recently moved from Sydney to Melbourne and has been developing his voice as a composer. He presented his appealing original tunes in a quartet setting, accompanied by Greenhill and two Melbourne players (saxophonist Toby Barrett and pianist James Bowers). Bowers played a key role in shaping the dynamics of each piece, offering lyrical introductions on ballads such as Skylight, and building momentum beneath his bandmates' animated solos. Several tunes were buoyed by a subtle Latin undercurrent courtesy of Shortland and Greenhill – including the set's final number (Emergence), which was suffused with warmth and positivity. Greenhill was back for the second set, forming one-third of a potent Sydney-based trio. The drummer has been working with saxophonist Ben Lerner and bassist Nick Jansen since 2020, and the three have developed a powerfully persuasive group sound. Their impressive debut album – Play Trio – has just been released, featuring compositions by artists who inspired them. On Sean Wayland's John Barker, their nimble reflexes were on display as they sprinted across the melody with taut precision, before Lerner spiralled off into an agitated, angular solo. Kurt Rosenwinkel's Synthetics was a speedy, bop-fuelled sprint, Lerner's lines tumbling forth with remarkable fluency as Jansen and Greenhill pushed at the beat like ebullient jockeys. Lykeif had a more expansive, open-time feel, incorporating a vigorous three-way dialogue of split-tone squawks, exploratory bass and textural drums. With Greenhill now based in New York (and Lerner soon to follow), this was a rare opportunity to see some exciting young players whose stars are well and truly on the rise. Reviewed by Jessica Nichols MUSIC Invenio – Bits and Pieces ★★★★ Tempo Rubato, June 12 I still have vivid memories of seeing Invenio's very first show – Gone, Without Saying – in 2010. Fourteen singers (including the group's leader and composer, Gian Slater) presented an arresting suite that explored extended vocal techniques, wordless singing, improvisation and choreographed movements, along with intricate multi-part harmonies and songs with poetic lyrics. Some passages were startlingly strange and experimental; some so tender and moving that they left audience members in tears. A decade and a half later, Slater's vision of an unconventional vocal ensemble continues to bear rich fruit, and Invenio serves as a beacon of creativity and commitment in Melbourne's art music community. Slater now has a collective of about 30 dedicated singers to draw from, 12 of whom performed at Tempo Rubato on Thursday night. This concert marked Invenio's 15th anniversary, and the program ranged widely across the group's extensive back catalogue. It opened with Banterer (from Gone, Without Saying), where the singers held various kitchen implements – bowls, saucers, teacups – in front of their mouths as they twittered, stuttered and whispered, before coalescing into unison syllables and rhythmic cycles that intersected and overlapped with perfect precision. Fight Eyes had the feel of an evocative folk song, with lush three-part harmonies that occasionally diverged into subtle trills or sustained drones. On Growing Pains, the bass and tenor voices sang the lyrics, while the altos and sopranos quivered, pulsed and slid up and down in a series of elongated, wordless sighs. And for Warm Bodies – perhaps the most affecting piece of the night – the singers moved down the aisles and along the back of the room as they sang, enveloping the audience in a delicate harmonic field that resonated with a hushed, almost hymnal beauty. Loading We also heard three new pieces from a forthcoming album, suggesting that while 15 years is an impressive milestone, Invenio's journey of inspiration and discovery is far from over. Long may it continue. Reviewed by Jessica Nicholas
Newsweek
04-06-2025
- Entertainment
- Newsweek
'Wicked' Star Cynthia Erivo Calls Out Critics of Her New Role
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Entertainment gossip and news from Newsweek's network of contributors Cynthia Erivo remains one of the most talented performers working today. One letter shy of an EGOT, Erivo most recently garnered critical acclaim for her iconic performance as Elphaba in "Wicked," which earned her a second Academy Award Nomination for Best Actress. Now, with "Wicked: For Good" releasing later this year, Erivo is ready for her next project: "Jesus Christ Superstar" at the Hollywood Bowl. More Entertainment: Fan-Favorite 'Schitt's Creek' Star Joins MCU The Tony Award winner will be taking on the role of Jesus Christ opposite Adam Lambert as Judas. Erivo's casting has received complaints from conservative critics over, and it seems that she really doesn't care about that. INDIO, CALIFORNIA - APRIL 19: Cynthia Erivo performs with Gustavo Dudamel & LA Phil at the Coachella Stage during the 2025 Coachella Valley Music and Arts Festival on April 19, 2025 in Indio, California. INDIO, CALIFORNIA - APRIL 19: Cynthia Erivo performs with Gustavo Dudamel & LA Phil at the Coachella Stage during the 2025 Coachella Valley Music and Arts Festival on April 19, 2025 in Indio, Coachella In an interview with Stephen Daw of Billboard, Erivo addressed the claims that her performance as Jesus in the classic Andrew Lloyd Webber and Tim Rice musical was "blasphemous," pointing out that there was no reason she shouldn't be able to play the character. "Why Not?" Erivo asked with a chuckle. "You can't please everyone. It is legitimately a three-day performance at the Hollywood Bowl where I get to sing my face off. So hopefully they will come and realize, 'Oh, it's a musical, the gayest place on Earth.'" More Entertainment: Stephen King 'Carrie' Remake Officially Reveals Main Cast Erivo received similar criticism when she was cast as Elphaba, with many critics claiming she was a "woke hire." "I had to audition, just like everybody else. And I'm glad I had to do that," Erivo said, per Afua Hirsh of Elle. "I have the credentials for it. I've done the work. But I'm glad they got to be sure about the choice. It allows me to take this, and to know that I had to work really hard for it." In fact, she believes her experience as "the other" informed her performance as the future Wicked Witch of the West. "I was conscious that I didn't want to erase the thing that I am underneath the green," Erivo said. "For me, it was about using my own experience as the 'other,' as someone who exists in that way. So, that's partially the reason why Elphaba has braids, as opposed to straight hair. It's the reason why she has long nails." Erivo will be performing in "Jesus Christ Superstar" at the Hollywood Bowl from Aug. 1-3, 2025. "Wicked: For Good" hits cinemas on Nov. 21, 2025. More Entertainment: Original 'King of the Hill' Voice Actor Dead After Fatal Shooting 'A Minecraft Movie' Hits HBO Max for Free Streaming in June: What to Know For more entertainment news, head on over to Newsweek Entertainment.
Yahoo
03-06-2025
- Entertainment
- Yahoo
'Wicked' star Cynthia Erivo laughs at critics of her playing Jesus in upcoming musical
"Wicked" star Cynthia Erivo doesn't see an issue with playing the role of Jesus Christ in an upcoming performance of "Jesus Christ Superstar." In a recent interview with Billboard, the actress laughed off outrage that she would be playing Jesus in an upcoming rendition of Andrew Lloyd Webber and Tim Rice's musical. "Why not?" she asked Billboard when asked about people saying she shouldn't perform the role. "You can't please everyone." Broadway Star Patti Lupone Says Trump-led Kennedy Center 'Should Get Blown Up' Erivo is set to perform in the rock opera at the upcoming Hollywood Bowl production of the musical that runs from August 1 to August 3 this year. News that the actress would be Jesus caused controversy for Christians and conservatives on social media last February. At the time, Christian pastor, John K. Amanchukwu Sr., complained about the casting on social media, stating, "With all due respect, and humbly submitted, Cynthia Erivo is too BALD, BROWN, and BI to play Jesus. Casting a woman as Jesus Christ is an intentional form of blasphemy that Hollywood would be fuming over if done to certain other religions." Read On The Fox News App Conservative Christian influencer Alexandra Lains posted her complaints about the casting decision, stating, "Christianity seems to be the only religion that's never off limits for Hollywood to disrespect. Cynthia Erivo, a black woman, as Jesus Christ? Please stop with the lunacy." John Lithgow Says Trump's Return Is Biggest 'Disaster' For The Arts Since Covid-19 The Billboard interview, published on Monday, noted that Erivo "can't help but laugh" at the outrage. She justified taking the role and said people will get over it once they see it. "It is legitimately a three-day performance at the Hollywood Bowl where I get to sing my face off. So, hopefully they will come and realize, 'Oh, it's a musical, the gayest place on Earth,'" she said. Erivo was nominated for Best Actress for her performance in the hit musical "Wicked" as Elphaba. Elsewhere during the interview, the entertainer weighed in on President Donald Trump's overhaul of the John F. Kennedy Center for the Performing Arts in Washington, D.C., in February. Click Here For More Coverage Of Media And Culture Trump fired several Kennedy Center board members, including the president and chairman, and replaced them with pro-Trump figures, who then named the president as chairman. The outlet said that Erivo expressed "dread" over the recent Kennedy Center changes. She told Billboard, "I don't know who gains what from that. I hope that it comes back," she says. "It's really sad to have to watch this happen to it. The Kennedy Center is supposed to be a space of creativity and art and music for everyone."Original article source: 'Wicked' star Cynthia Erivo laughs at critics of her playing Jesus in upcoming musical
