Somewhat based on the last week of Jesus' life, that is, on Rice's version of what is known about the week from Palm Sunday to Jesus' crucifixion, Jesus Christ Superstar was initially doomed to comment and controversy, or perhaps designed to provoke it. Placing such an important theme in a popular-musical context was already a problem for many, a sign of profanization, but today it is no longer expected that religious themes are treated exclusively with music of Bach's complexity (and the ubiquitous English language seems to offer a difference between Jesus in the theater and Jesus in religious context). This work, after all, was not a statement of faith as in the passions, but, they emphasized - a story.
What surprised Superstar the most was that Jesus is not actually the main character in it, but it is - Judas (admittedly, if his name was in the title, the work would certainly have been somewhat less popular). The author's interest in Judas was stimulated by Bob Dylan's line, "Did Judas Iscariot have God on his side?" Asking himself whether, therefore, Judas had God on his side, Time Rice devised a more humane Judas, a follower who sees, or thinks he sees. , what others don't see and wants to change things. Rice explains, “It makes sense that Judas would be worried about a man he admired and joined, worried that things were getting out of hand. There is no motivation for Judas in the Bible, except that he is a figure of evil. And it seemed to me that it probably wasn't quite like that." And his Jesus is a man full of questions and doubts, on the way to becoming a superstar, like today's celebrities, just a man from whom people may want too much (and he tells them, "There's too many of you… There's too little of me!”)
Comments were also provoked by the contemporary Rice dictionary, the colorful music, the figure of Mary Magdalene (and the implications of her relationship with Jesus), the blaming of the Jews, and the acquittal of Pontius Pilate, but some groups were particularly bothered by the fact that Jesus Christ does not show what happened afterwards, that is, it ends with the crucifixion. Lloyd Webber clarified that Superstar was never intended to be a resurrection story, nor even a look at the last seven days of Christ's life, because it was a "beautiful story" and offered just the dramatic backdrop they needed, and Tim Rice that " we don't see Christ as God, but as a real man in the right place at the right time."
Despite all the controversies, the "more relaxed" approach to familiar motifs, along with contemporary music, provided the work with a permanent, and always new, audience, as well as a screen adaptation directed by Norman Jewison, 1973 (another version was recorded in 1999), which was also viewed by Pope Paul VI, and Vatican Radio broadcast the entire album in 1971. Despite complaints about kitsch and clumsiness, the audience recognized the courage of a different approach - and an infectious melody.
Damir Lončar, director
He was born in Osijek. After completing the Department of Acting The Academy of Dramatic Art is a member of the HNK Drama in Osijek, where he performs a number of leading roles (Glorija, Bljesak of the golden tooth, Caligula, The Suicide, Hamlet, The Taming of the Shrew Goropadnosti, Tales from the Vienna Forest, Čaruga, Adventurer pred the door, In the camp).
In December 2007, he performed in a play Flags, pennants, flags of Mira Međimorac with which she was celebrated 100th anniversary of HNK in Osijek. Since 1992, he has been performing in Zagreb City Theatre Komedija theater where he became a member two years later ensemble and achieves a number of notable roles in comedy repertoire, operettas and musicals. Almost yes there is no successful song in Komedia's repertoire in which it is not included participated in: Crazy night at the President Hotel, From bed to beds, On three kings or as you like, A bug in the ear, The innkeeper, Opera for three groschi, Princess Čardaša, Master of his body, Small shop of horrors, Čaruga, Fool for dinner, Little Floramye, A Midsummer Night's Dream, Klupko, A Young King Is Born, The Sufferings of Mr. Mockinpott, Download to the end, Caught in a net, Saint Elizabeth's bricks, Servant of Two Masters, Gathering, Pure Madness, Flash of Gold tooth, Auditor, Legend of St. Muhla.
Over time, he started directing, first as an assistant and co-director (Bug in the ear, From bed to bed, Little shop of horrors, Gubec-beg), and independently directs plays Čaruga, St. Elizabeth's Bricks, Awaiting Epitaph, The Good Soldier
Švejk and Mala kavana. He performed at the Dubrovnik Summer Games (Skup, Dundo Maroje, The Visit of the Old Lady, Orestija, Don Quixote). He has made several films (Luka, Christmas in Vienna, The heart is not in fashion, Play something romantic, Long dark night) and television role (My house, my freedom, Our little clinic, Matrimonial waters). He was awarded for his role as George Pidgeon in the play Ludo night at the President Hotel, and prizes at the Marul days won for the roles of Stipe and Don Zana in the plays Bljesak of the golden tooth and Gloria. Awarded the Golden Arena in Pula is for a supporting role in Radić's film Luka.
For the role of Feldkurat Otto Katz in the play The Good Soldier Švejk and for the role of King Arthur in the musical Monty Python's Spamalot he was awarded with Award of the Croatian Theatre.