document_title: The Hateful Eight

question_text: who did the voiceover in the hateful eight

text: The Hateful Eight

text: Plot[edit]

text: Years after the Civil War, bounty hunter Major Marquis Warren is transporting three dead bounties to the town of Red Rock, Wyoming. He hitches a ride on a stagecoach driven by O.B. Jackson. Aboard is John Ruth, a bounty hunter known for bringing in outlaws alive to see them hang; handcuffed to him is fugitive Daisy Domergue, whom Ruth is escorting to Red Rock. Ruth is suspicious of anyone who might steal his claim to the bounty. Ruth and Warren bond over Warren's personal letter from Abraham Lincoln.

text: Former Lost-Causer militiaman Chris Mannix, who claims he is traveling to Red Rock as the town's new sheriff, persuades Ruth and Warren to let him on the stagecoach. Warren and Ruth form an alliance to protect each other's bounties. Mannix and Warren almost come to blows over their controversial war records.

text: The group seeks refuge from a blizzard at Minnie's Haberdashery, a stagecoach lodge. They are greeted by Bob, a Mexican, who says the owner, Minnie, is visiting her mother. The other lodgers are Oswaldo Mobray, a hangman; Joe Gage, a quiet cowboy traveling to visit his mother; and Sanford Smithers, a former Confederate general traveling to put his missing son to rest. Suspicious, Ruth disarms all but Warren. As the group eats, Mannix surmises that Warren's Lincoln letter is a forgery. Warren admits this, saying the letter buys him leeway with whites, outraging Ruth. Warren leaves a gun next to Smithers and provokes him into reaching for it by telling Smithers he tortured, raped, and killed Smithers' son. When Smithers pulls a gun, Warren shoots him as revenge for Smithers' execution of black soldiers at the Battle of Baton Rouge.

text: While everyone is distracted by the confrontation, someone seen only by Daisy poisons the brewing coffee. Ruth and O.B. drink it, causing them to vomit blood, killing O.B. The dying Ruth attacks Daisy, but she kills him with his own gun. Warren disarms Daisy, holds the men at gunpoint and leaves her cuffed to Ruth's corpse. Warren is joined by Mannix, whom Warren trusts because he nearly drank the poisoned coffee. Warren executes Bob, deducing that he is an impostor who killed the lodge owners, as Minnie hates Mexicans and would never leave one to care for the lodge. When Warren threatens to execute Daisy, Gage admits that he poisoned the coffee. A man hiding in the cellar shoots Warren in the genitals. Mobray draws a concealed gun and shoots Mannix, who returns fire, wounding Mobray and forcing Gage against the wall.

text: Hours earlier, Bob, Mobray, Gage, and a fourth man, Jody, arrive at Minnie's Haberdashery. They murder Minnie and five other bystanders, leaving only Smithers. Jody, Daisy's brother, tells Smithers they plan to ambush Ruth to rescue Daisy; his gang will spare Smithers if he keeps quiet, as they deduce that an extra lodger makes the setup more believable. The bandits dispose of the bodies, hide the evidence, and conceal guns around the lodge. As Ruth's stagecoach arrives, Jody hides in the cellar.

text: In the present, Mannix and Warren, both seriously wounded, hold Daisy, Gage, and the dying Mobray at gunpoint. They force Jody out of the cellar by threatening to kill Daisy. Jody surrenders and Warren executes him. Daisy claims fifteen of her brother's men are waiting in Red Rock to kill Mannix and ransack the town; if Mannix kills Warren and allows her to escape, the gang will spare him and let him claim the bounties of the deceased except her brother.

text: As Daisy and Mobray taunt Warren, Warren shoots Daisy in the foot and Mobray in the leg; Mobray soon dies from his wounds. Gage draws a hidden revolver but is shot dead by Mannix and Warren. Warren tries to shoot Daisy but is out of bullets. Mannix calls Daisy's bluff and rejects her offer, but faints from blood loss. Daisy hacks off Ruth's handcuffed arm and frees herself. As she reaches for a gun, Mannix regains consciousness, shoots, and wounds her. Warren persuades Mannix to hang her from the rafters in honor of Ruth. Afterward, as the two men lie dying, Mannix reads aloud Warren's forged Lincoln letter.

text: Cast[edit]

text:
Samuel L. Jackson as Major Marquis Warren a.k.a. "The Bounty Hunter"
Kurt Russell as John Ruth a.k.a. "The Hangman"
Jennifer Jason Leigh as Daisy Domergue a.k.a. "The Prisoner"
Walton Goggins as Chris Mannix a.k.a."The Sheriff"
Demián Bichir as Bob (Marco the Mexican) a.k.a. "The Mexican"
Tim Roth as Oswaldo Mobray (English Pete Hicox) a.k.a. "The Little Man"
Michael Madsen as Joe Gage (Grouch Douglass) a.k.a. "The Cow Puncher"
Bruce Dern as General Sanford "Sandy" Smithers a.k.a. "The Confederate"
James Parks as O.B. Jackson
Channing Tatum as Jody Domergue, Daisy's brother
Dana Gourrier as Minnie Mink
Zoë Bell as Six-Horse Judy
Lee Horsley as Ed
Gene Jones as Sweet Dave
Keith Jefferson as Charly
Belinda Owino as Gemma
Craig Stark as Chester Charles Smithers
Quentin Tarantino as Narrator (uncredited)

text: Production[edit]

text: In November 2013, writer-director Quentin Tarantino said he was working on a new film, another Western. He stated that it would not be a sequel to Django Unchained,[6] though he later admitted that his first attempt at the story was as a sequel in novel form titled Django in White Hell, but he quickly realized that Django's character did not fit the story.[7] On January 12, 2014, the film's title was announced as The Hateful Eight.[8] The film was inspired by the 1960s Western TV series Bonanza, The Virginian and The High Chaparral. Tarantino said:

text: Twice per season, those shows would have an episode where a bunch of outlaws would take the lead characters hostage. They would come to the Ponderosa and hold everybody hostage, or go to Judge Garth's place—Lee J. Cobb played him—in The Virginian and take hostages. There would be a guest star like David Carradine, Darren McGavin, Claude Akins, Robert Culp, Charles Bronson, or James Coburn. I don't like that storyline in a modern context, but I love it in a Western, where you would pass halfway through the show to find out if they were good or bad guys, and they all had a past that was revealed. I thought, 'What if I did a movie starring nothing but those characters? No heroes, no Michael Landons. Just a bunch of nefarious guys in a room, all telling backstories that may or may not be true. Trap those guys together in a room with a blizzard outside, give them guns, and see what happens.[9]

text: Production would most likely have begun in mid 2014, but after the script leaked online in January 2014, Tarantino considered publishing it as a novel instead.[10] He said he had given the script to a few trusted colleagues, including Bruce Dern, Tim Roth, and Michael Madsen.[11][12] This version of the script featured a different ending in which Warren and Mannix attempt to kill Gage in revenge by forcing him to drink the poisoned coffee, sparking a firefight in which every character is killed.[13] Tarantino described his vision for the character of Daisy Domergue as a "Susan Atkins of the Wild West".[14]

text: On April 19, 2014, Tarantino directed a live reading of the leaked script at the United Artists Theater in the Ace Hotel Los Angeles. The event was organized by the Film Independent at Los Angeles County Museum of Art (LACMA) as part of the Live Read series and introduced by Elvis Mitchell.[15] Tarantino explained that they would read the first draft of the script, and he added that he was writing two new drafts with a different ending. The actors who joined Tarantino included Samuel L. Jackson, Kurt Russell, Amber Tamblyn, James Parks, Walton Goggins, Zoë Bell, James Remar, Dana Gourrier, Dern, Roth and Madsen.[16]

text: Casting[edit]

text: On September 23, 2014, it was revealed that Viggo Mortensen was in discussion with Tarantino for a role in the film.[17] On October 9, 2014, Jennifer Jason Leigh was added to the cast to play Daisy Domergue.[18] On November 5, 2014, it was announced that Channing Tatum was eyeing a major role in the film.[19] Later the same day, The Weinstein Company confirmed the cast in a press release, which would include Samuel L. Jackson, Jennifer Jason Leigh, Kurt Russell, Tim Roth, Demián Bichir, Walton Goggins, Michael Madsen, and Bruce Dern. Tatum's casting was also confirmed.[20]

text: Later on January 23, 2015, TWC announced an ensemble cast of supporting members, including James Parks, Dana Gourrier, Zoë Bell, Gene Jones, Keith Jefferson, Lee Horsley, Craig Stark, and Belinda Owino.[21]

text: In the earlier public reading of the first script, the role of Daisy Domergue had been read by Amber Tamblyn, and the role of Bob, a Frenchman rather than a Mexican, was read by Denis Ménochet;[16] at the reading, the role of Jody was read by James Remar. Regarding the cast, Tarantino has said, "This is a movie where [bigger movie stars] wouldn't work. It needs to be an ensemble where nobody is more important than anybody else."[22]

text: Filming[edit]

text: On September 26, 2014, the state of Colorado had signed to fund the film's production with $5 million, and the complete film would be shot in Southwest Colorado.[23] A 900-acre ranch was issued to the production for the filming. There was a meeting on October 16, and the county's planning commission issued a permit for the construction of a temporary set.[23] Principal photography began on December 8, 2014, in Colorado on the Schmid Ranch near Telluride.[24][25][26][27] The film's special make-up effects were created by Greg Nicotero, known for his work on the AMC series The Walking Dead.[28]

text: Guitar incident[edit]

text: The guitar destroyed by Russell's character was not a prop but an antique 1870s Martin guitar loaned by the Martin Guitar Museum. According to sound producer Mark Ulano, the guitar was supposed to have been switched with a copy to be destroyed, but this was not communicated to Russell; everyone on the set was "pretty freaked out" at the guitar's destruction, and Leigh's reaction was genuine, though "Tarantino was in a corner of the room with a funny curl on his lips, because he got something out of it with the performance."[29] Museum director Dick Boak said that the museum was not told that the script included a scene that called for a guitar being smashed, and determined that it was irreparable. The insurance remunerated the purchase value of the guitar. As a result of the incident, the museum no longer loans guitars to film productions.[30]

text: Cinematography[edit]

text: Cinematographer Robert Richardson, who also worked with Tarantino on Kill Bill, Inglourious Basterds, and Django Unchained, filmed The Hateful Eight on 70 mm film, using Ultra Panavision 70 and Kodak Vision 3 film stocks: 5219, 5207, 5213 and 5203. It is the widest release in 70 mm film since Ron Howard's Far and Away in 1992.[31] The film uses Panavision anamorphic lenses with an aspect ratio of 2.76:1, a very widescreen image that was used on some films in the 1950s and 1960s.[32] The filmmakers also avoided any use of a digital intermediate; the 70mm release was color-timed photochemically by FotoKem, and the dailies were screened in 70mm.[33] The wide digital release and a handful of 35mm prints were struck from a digital intermediate, done by Yvan Lucas at Shed/Santa Monica.

text: Post-production[edit]

text: Tarantino edited two versions of the film, one for the roadshow version and the other for general release. The roadshow version runs for three hours and two minutes, including six minutes of extra footage plus an overture and intermission, and has alternate takes of some scenes. Tarantino created two versions as he felt some of the footage he shot for 70mm would not play well on smaller screens.[34] Classifications from the British Board of Film Classification confirm that the time difference between the Roadshow (187 minutes) and the DCP (167 minutes) releases is 20 minutes.[1][2]

text: Music[edit]

text: Tarantino announced at the 2015 Comic-Con that Ennio Morricone would compose the score for The Hateful Eight; it is the first Western scored by Morricone in 34 years, since Buddy Goes West, and Tarantino's first film to use an original score.[35][36] Tarantino had previously used Morricone's music in Kill Bill, Death Proof, Inglourious Basterds, and Django Unchained, and Morricone also wrote an original song, "Ancora Qui", for the latter.[37] Morricone had previously made statements that he would "never work" with Tarantino after Django Unchained, but ultimately changed his mind and agreed to score The Hateful Eight.[38] According to Variety, Morricone composed the score without even seeing the film.[39]

text: The soundtrack was announced on November 19, 2015, for a December 18 release from Decca Records. Ennio Morricone composed 50 minutes of original music for The Hateful Eight. In addition to Morricone's original score, the soundtrack includes dialogue excerpts from the film, "Apple Blossom" by The White Stripes from their De Stijl album, "Now You're All Alone" by David Hess from The Last House on the Left and "There Won't Be Many Coming Home" by Roy Orbison from The Fastest Guitar Alive.[40]

text: Tarantino confirmed that the film would use three unused tracks from Morricone's original soundtrack for the 1982 John Carpenter film The Thing—"Eternity", "Bestiality" and "Despair"—as Morricone was pressed for time while creating the score.[41] The final film also uses Morricone's "Regan's Theme" from the 1977 John Boorman film Exorcist II: The Heretic.

text: Morricone's score won several awards including a special award from New York Film Critics Circle. The score won a Golden Globe for Best Original Score.[42] It also took the 2015 Academy Award for Best Motion Picture Score, Morricone's first after several career nominations.

text: The acoustic song played by Leigh's character Domergue on a Martin guitar is the traditional Australian folk ballad "Jim Jones at Botany Bay", which dates from the early 19th-century and was first published by Charles McAlister in 1907.[43] The rendition in the film includes lines which were not in MacAlister's version.[44] The film's trailer used Welshly Arms' cover of "Hold On, I'm Coming", although this is not used in the film itself.[45]

text: The soundtrack was released under the Third Man Records label, which is operated by musician Jack White.

text: Release[edit]

text: On September 3, 2014, The Weinstein Company (TWC) acquired the worldwide distribution rights to the film for a fall 2015 release.[46] TWC would sell the film worldwide, but Tarantino asked to personally approve the global distributors for the film.[47] In preparation for its release, Tarantino arranged for approximately 100[48] theaters worldwide to be retrofitted with anamorphic equipped 70 mm film projectors, in order to display the film as he intended.[32][49] The film was released on December 25, 2015, as a roadshow presentation in 70 mm film format theaters.[50] The film was initially scheduled to be released in digital theaters on January 8, 2016.

text: On December 14, The Hollywood Reporter announced that the film would see wide release on December 31, 2015, while still screening the 70 mm version.[51] The release date was moved to December 30, 2015, to meet demand.[52] On July 11, 2015, Tarantino and the cast of the film appeared at Comic-Con to promote the film.[35] In the UK, where the film was distributed by Entertainment Film Distributors, the sole 70mm print in the country opened at the Odeon Leicester Square on January 8 in a roadshow presentation, with the digital general release version opening the same day at other cinemas, except Cineworld, who refused to book the film after failing to reach an agreement to show the 70mm print.[53]

text: On March 15, 2016, The Hateful Eight was released in the United States on Digital HD, and on Blu-ray and DVD on March 29, 2016.[citation needed]

text: Piracy[edit]

text: On December 20, 2015, screener copies of The Hateful Eight and numerous other Oscar contenders, including Carol, The Revenant, Brooklyn, Creed, and Straight Outta Compton, were uploaded to many websites. The FBI linked the case to co-CEO Andrew Kosove of Alcon Entertainment. Kosove responded that he had "never seen this DVD", and that "it never touched his hands."[54]

text: Reception[edit]

text: Box office[edit]

text: The Hateful Eight grossed $54.1 million in the U.S. and Canada, and $101.6 million in other countries, for worldwide gross of $155.7 million against a budget of around $44 million.[3]

text: The film opened in the US with a limited release on December 25, 2015, and over the weekend grossed $4.9 million from 100 theaters ($46,107 per screen), finishing 10th at the box office.[55] It had its wide release on December 30, grossing $3.5 million on its first day.[56] The film went on to gross $15.7 million in its opening weekend, finishing third at the box office behind Star Wars: The Force Awakens ($90.2 million) and Daddy's Home ($29.2 million).[57]

text: Critical response[edit]

text: The film critics aggregator Rotten Tomatoes gave the film an approval rating of 74% based on 282 reviews and an average rating of 7.3/10. The site's critical consensus reads, "The Hateful Eight offers another well-aimed round from Quentin Tarantino's signature blend of action, humor, and over-the-top violence—all while demonstrating an even stronger grip on his filmmaking craft."[58] On Metacritic, the film holds a weighted average score of 68 out of 100, based on 51 critics, indicating "generally favorable reviews".[59] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[56]

text: James Berardinelli wrote that The Hateful Eight "is a high-wire thriller, full of masterfully executed twists, captivating dialogue, and a wildly entertaining narrative that gallops along at a pace to make three hours evaporate in an instant. Best film of the year? Yes."[60] Telegraph critic Robbie Collin wrote: "The Hateful Eight is a parlour-room epic, an entire nation in a single room, a film steeped in its own filminess but at the same time vital, riveting and real. Only Tarantino can do this, and he’s done it again."[61] Guardian critic Peter Bradshaw gave the film five out of five, and wrote that it was "intimate yet somehow weirdly colossal, once again releasing [Tarantino's] own kind of unwholesome crazy-funny-violent nitrous oxide into the cinema auditorium for us all to inhale ... "Thriller" is a generic label which has lost its force. But The Hateful Eight thrills."[62] A.V. Club critic Ignatiy Vishnevetsky gave the film a grade of A- and wrote that "with a script that could easily be a stage play, The Hateful Eight is about as close as this pastiche artist is likely to get to the classical tradition."[63]

text: In contrast, Owen Gleiberman of the BBC said, "I'm not alone in thinking that it's Tarantino's worst film – a sluggish, unimaginative dud, brimming with venom but not much cleverness."[64] Donald Clarke, writing in The Irish Times, wrote, "What a shame the piece is so lacking in character and narrative coherence. What a shame so much of it is so gosh-darn boring."[65] A. O. Scott in The New York Times said, "Some of the film's ugliness...seems dumb and ill-considered, as if Mr. Tarantino's intellectual ambition and his storytelling discipline had failed him at the same time."[66] Todd McCarthy of The Hollywood Reporter praised the film's production design, idiosyncratic dialogue, and "lip-smackingly delicious" performances, but felt the film was overlong and that Morricone's score was put to too limited use.[67]

text: Police boycott[edit]

text: In October 2015, Tarantino attended a Black Lives Matter rally and publicly commented on police brutality in the United States, saying, "When I see murders, I do not stand by... I have to call a murder a murder, and I have to call the murderers the murderers." Tarantino's comments received national media attention and several police groups in the United States pledged to boycott The Hateful Eight and his other films. New York City Police Benevolent Association president Patrick J. Lynch said: "With nearly one million law enforcement officers in this country who have families and friends who support them, the impact that police have economically on a product or project is immense. The law enforcement boycott of cop-hater Quentin Tarantino's movie is one demonstration of that economic power."[68] Tarantino responded that he was not a "cop hater" and would not be intimidated by the calls for a boycott.[69][70]

text: Richard Johnson of the New York Post called The Hateful Eight a "box-office disaster, and the police officers who boycotted the movie are taking credit".[68] However, Forbes rebutted this claim in an article titled "No, Police Boycotts Against Quentin Tarantino didn't cause Hateful Eight to Flop", writing that the film, while not as commercially successful as some of Tarantino's other films, was not a "box-office disaster" and cast doubt on claims that a boycott had a strong effect on sales.[71]

text: Race issues[edit]

text: Tarantino told GQ that race issues were part of his creative process and were inescapable, saying: "I wasn’t trying to bend over backwards in any way, shape, or form to make it socially relevant. But once I finished the script, that’s when all the social relevancy started."[72] He told the Telegraph he wrote The Hateful Eight to reflect America's fraught racial history, with the splitting of the cabin into northern and southern sides and a speech about the perils of "frontier justice".[73] A. O. Scott of The New York Times observed that the film rejects the Western genre's tradition of ignoring America's racial history, but felt its handling of race issues was "dumb and ill-considered", and wrote: "Tarantino doesn’t make films that are 'about race' so much as he tries to burrow into the bowels of American racism with his camera and his pen. There is no way to do that and stay clean."[66]

text: Gender issues[edit]

text: Some critics expressed unease at the treatment of the Daisy Domergue character, who is the subject of repeated physical and verbal abuse and finally lynched in a sequence which, according to Matt Zoller Seitz of RogerEbert.com, "lingers on Daisy's death with near-pornographic fascination".[74][75][76] A.O. Scott felt the film "mutates from an exploration of racial animus into an orgy of elaborately justified misogyny".[66] Laura Bogart regarded the treatment of Daisy as a "betrayal" of the positive female characters in previous Tarantino films such as Kill Bill.[77] Juliette Peers wrote that "compared to the stunning twists and inversions of norms that Tarantino's other works offer when presenting female characters, The Hateful Eight's sexual politics seem bleakly conservative. Daisy is feisty and highly intelligent, yet the plotline is arbitrarily stacked against her."[76]

text: Conversely, Courtney Bissonette of Bust praised Tarantino's history of female characters and wrote of Daisy's treatment: "This is equality, man, and it’s more feminist to think that a criminal is getting treated the same despite her gender. They don't treat her like a fairy princess because she is a woman, they treat her like a killer because she is a killer."[78] Sophie Besl of Bitch Flicks argued that Daisy received no special treatment as a woman, is never sexually objectified, and has agency over her own actions (including killing her captor). She defended the hanging scene as in the filmic tradition of villains "getting what's coming to [them]", and that equivalent scenes with male villains in previous Tarantino films raised no objections.[79] However, Matthew Stogdon felt that as Daisy's crimes are not explained, her status as a criminal deserving execution is not established, breaking the narrative rule of "show, don't tell".[80]

text: Walton Goggins described the lynching as symbolic of a positive step to erase racism: "I see it as very uplifting, as very hopeful, and as a big step in the right direction, as a celebration, as a changing of one heart and one mind."[81] However, Sasha Stone, writing for Awards Daily, felt it was implausible for Daisy to "represent, somehow, all of the evil of the South, all of the racism, all of the injustice. She's a tiny thing. There is no point in the film, or maybe one just barely, when Daisy inflicts any violence upon anyone – and by then it could be argued that she is only desperately trying to defend herself. She is handcuffed to Kurt Russell, needing his permission to speak and eat, and then punched brutally in the face whenever she says anything."[82]

text: Tarantino intended the violence against Daisy to be shocking and wanted the audience's allegiances to shift during the story. He said: "Violence is hanging over every one of those characters like a cloak of night. So I'm not going to go, 'OK, that's the case for seven of the characters, but because one is a woman, I have to treat her differently.' I'm not going to do that."[83] Producer Harvey Weinstein felt the allegations of sexism were "fishing for stupidity".[83]

text: Accolades[edit]


document_title: Eddie Lowery

question_text: who is the caddy in the greatest game ever played

root

text: Eddie Lowery

text: Edward Edgar Lowery (October 14, 1902 – May 4, 1984)[1] was an American caddie, amateur golfer and multi-millionaire businessman.

tag: p

text: Lowery is best known as the 10-year-old caddie of Francis Ouimet during the 1913 U.S. Open, held at The Country Club in Brookline, Massachusetts, which Ouimet won in a playoff over Harry Vardon and Ted Ray. An iconic photograph of Lowery and Ouimet striding down the fairway together is one of the most memorable in American golf history. It was used as the logo for the United States Golf Association's centennial celebrations, appears on the cover of Mark Frost's account of the 1913 Open The Greatest Game Ever Played: Harry Vardon, Francis Ouimet, and the Birth of Modern Golf and inspired a memorial statue in Brookline. Lowery was prominently featured in the 2005 Disney movie The Greatest Game Ever Played, portrayed by actor Josh Flitter.

text: Lowery and Ouimet remained lifelong friends, and when Ouimet died in 1967, Lowery was one of the pallbearers.[2]

text: Biography[edit]

text: Lowery was the fifth child born in Newton, Massachusetts, to John and Maria Lowery (née Curran,) who were Irish immigrants.[3] He moved to San Francisco, California, and championed the rising amateur careers of Ken Venturi (1964 U.S. Open Champion), Harvie Ward (1955 & 1956 U.S. Amateur Champion), and Tony Lema (1964 British Open Champion), among others. Lowery played at Lincoln Park in San Francisco. He died in 1984 in Riverside County, California.[4]

text: He became a multi-millionaire as an auto dealer in San Francisco. Lowery and Bob Hope were friends and they both played in the 1951 British Amateur. He enjoyed sponsoring young amateur golfers, such as two of his employees: Venturi and Ward. In 1956 he arranged a match between these two amateurs and two golf pros, Ben Hogan and Byron Nelson, a friendly four-ball match at Cypress Point Club. The amateurs played a strong game but the pros took the match, 1-up. Venturi told a newspaper years later, "It was the best golf I've ever seen." This match was chronicled in depth in Mark Frost's 2007 book The Match.[5]

text: Lowery also served on the Executive Committee of the United States Golf Association. His sponsorship of Harvie Ward led to problems, because Lowery had claimed certain disallowable business expenses for tax write-offs. And Ward, who had trusted Lowery's USGA expertise, had his amateur status revoked in 1957, at a time when he had won the previous two consecutive U.S. Amateur titles.[5]


document_title: The Good Place

question_text: how did tahini die in the good place

question_tokens: how did tahini die in the good place

text: The Good Place

text: Synopsis[edit]

text: After she is struck by a collection of runaway shopping carts, pushed into traffic and run over by a truck, Eleanor Shellstrop (Bell) is welcomed into the afterlife by Michael (Danson), the facilitator and architect of Eleanor's new neighborhood in a "perfect utopia" called "The Good Place". When Michael tells Eleanor she made it into "The Good Place" as reward for her life of selfless devotion to helping others, she realizes she must have been mistaken for someone else. She also learns that each person in "The Good Place" has a soulmate with whom she or he is matched and (accordingly) with whom she or he will live for eternity.

text: Hoping to stay in The Good Place, Eleanor decides to hide her morally imperfect past behavior from everyone else, confessing only to her assigned soulmate, Chidi Anagonye (Harper), a university ethics professor. Chidi agrees to teach Eleanor to become a better person and avoid eternal torture in "The Bad Place". She also interacts closely with a particular group of other people in "The Good Place", notably Tahani Al-Jamil (Jamil), a wealthy philanthropist who dedicated her life to helping the poor and raised billions through charities, and Tahani's soulmate Jianyu Li (Jacinto), seemingly a silent Buddhist monk from Taiwan, who turns out to be Jason Mendoza, a misplaced music DJ from Florida. Michael and the inhabitants are assisted by Janet (Carden), an artificial being in charge of helping and informing the inhabitants.

text: Each episode of the first season features flashbacks from one of the main characters and ends with a cliffhanger leading into the following episode. In the first-season finale's twist ending, Michael reveals that he is really a demon and that "The Good Place" is actually a new experimental form of "The Bad Place" that he has designed himself. Every resident there is also a demon, except for Eleanor, Chidi, Tahani, and Jason, who are the only human inhabitants. They were placed together with the idea that they would torment each other. The plan backfires when they become friends and Eleanor realizes the truth.

text: In season 2, Michael erases their memories and attempts the experiment again, but Eleanor (and on one occasion, Jason) figures out the truth over and over again. Because it is disallowed by his supervisors, Michael is lying to them and pretending to still be on the second attempt, even though he wipes their memories and reboots them repeatedly, more than eight hundred times. As his demon colleagues also demand changes, one of them (Vicky) blackmails Michael, demanding he wipe the humans' memories and reset the neighborhood again, but putting her in charge and enacting all the demands of the other demons. Desperate to retain control and avoid "retirement" Michael offers to work with the foursome and not erase their memories if they agree to work with him. Eleanor reluctantly agrees (after Michael says he can get them to the real Good Place if they do so), but says that she will only do so if Michael agrees to join them for Chidi's ethics lessons. Since he has no choice, Michael agrees to join Chidi's ethics lessons. Due to multiple times having their memories erased, and also having Janet rebooted for each experiment, nobody except Michael remembers that Jason married Janet during a previous experiment. As a result, in a later experiment, Jason attempts to marry Tahani after sleeping with her and forgetting that he is already married to robot Janet. Eleanor, Chidi and Michael attempt to stop their seaside wedding, after sorting out the various ethical consequences of their actions. At the end of Episode 7 in Season 2, Shawn, the all powerful judge, who is also Michael's boss, has returned to speak with Michael about how the experiment is going.

text: Cast and characters[edit]

text: Main[edit]

text:
Kristen Bell as Eleanor Shellstrop, a deceased saleswoman from Arizona who entered an afterlife utopia called "The Good Place" seemingly after being mistaken for a human rights lawyer by the same name.[3] With the aid of her alleged soulmate, Chidi, she attempts to reform by learning about ethics, believing she still has a chance to earn a legitimate spot in The Good Place. Now that Eleanor knows about Michael's experiments and the memory wipes, Eleanor became the de facto leader in the group "Team Cockroach" after she makes a truce with Michael to keep Shawn from finding out about the reboots in exchange for helping the humans get to the Real Good Place.
William Jackson Harper as Chidi Anagonye, a deceased ethics professor who was born in Nigeria and raised in Senegal, supposed to be Eleanor's soulmate. Reluctantly, he had hope to meet a soulmate he could bond with, but soon discovers that he and Eleanor were meant to be soulmates because he was always there for her. He is the first person to learn her secret and begins teaching her about ethics to reform both her and Jason. He died on earth when an air conditioner fell on his head outside his apartment building.[4] Chidi speaks French, but in this afterlife, his speech is translated into whatever languages people who listen to him speak; therefore, he appears to speak English to Eleanor and the audience.
Jameela Jamil as Tahani Al-Jamil, a deceased, wealthy philanthropist who traveled extensively around the world. She was born in Pakistan, raised in England, and went to school in France. Tahani, whose full name means "Congratulations Beautiful," is a seemingly-good-natured soul with a cheerful and helpful attitude who was constantly overshadowed by her younger sister, Kamilah during her time on Earth. She died on Earth when a statue of her sister fell on her at the Rock and Roll Hall of Fame in Cleveland, Ohio. She gradually learns the truth about Eleanor and Jason following Eleanor's arrival. Initially, Eleanor dislikes Tahani, finding her positive attitude, condescending manner, and her tendency to name drop obnoxious, but the two eventually become friends.[5]
D'Arcy Carden as Janet, a programmed guide who acts as the neighborhood's main source of information, analogous to an intelligent personal assistant. She is the 25th generation of "Janet" programs like her, dating back to a predecessor featuring a click-wheel. She has infinite knowledge of the universe, can provide residents anything they desire, and details everything of what is happening in the Good Place but does have some flaws. Since she is the only individual who came from a true Good Place (Michael admits to having stolen her in the season 1 finale), Janet is subject to numerous reboots; she pleads with whomever tries to push a red button that shuts her down not to kill her, even going as far as showing pictures (like an ultrasound of an unborn baby or showing off her "children") before she falls to the ground. These reboots give Janet increased abilities as well as programming capabilities that compel her to make humans happy, as she'll only answer to what the humans want her to do, including keeping their secrets to escaping the Bad Place. Janet is incompatible with lies and must tell the objective truth. In season 1, after she was rebooted the first time, Jason and Janet fell in love with each other and got married. Despite the fact Janet is not human, she and Jason attempted many times in vain to consummate their marriage, without success. It is revealed in season 2 that her feelings for Jason have intensified with each reboot. Also in season 2, as Janet becomes more self aware with each reboot, she realizes that the experimental created neighborhood may explode or implode due to her computer glitches, and she begs Michael to "kill" her and turn her into a marble. Demon Michael, after having attended so many of Chidi's lessons on ethics and philosophy, can not bring himself to permanently disable robot Janet, because Michael now considers robot Janet to be his best friend. Since Michael will not agree to permanently disable her and turn her into a marble, in order to pacify herself and avoid further earthquakes and the possible destruction of the neighborhood Janet creates a new boyfriend for herself. The boyfriend Janet creates is as anatomically incorrect as she is, with wind chimes for genitalia.

Carden also plays "Bad Janet", Janet's counterpart from The Bad Place.[6]

Manny Jacinto as "Jianyu Li", a supposedly silent Buddhist monk from Taiwan and Tahani's soulmate. Eleanor discovers he is actually Jason Mendoza from Jacksonville, Florida, an amateur DJ, devoted Jacksonville Jaguars fan, and backup dancer who sold fake drugs to high school students.[7] At first, Jason develops feelings for Janet because she is the only one who is nice to him but later forgot after they rebooted everybody's memories, but later ended up sleeping with Tahani in season 2.
Ted Danson as Michael, the architect of The Good Place where Eleanor and her fellow humans reside. In the first-season finale, it is discovered that he is a Bad Place demon who constructed a fake "Good Place" to torture Eleanor, Chidi, Tahani, and Jason. Unfortunately, he ends up repeatedly restarting his experiment due to Eleanor (and one time Jason) always figuring out that "The Good Place" is "The Bad Place," leading to his routine failure, as well as hiding the constant resets from Shawn in order to avoid "retirement". As part of a truce he makes with Eleanor so his failing project will not be exposed and a chance to reform his behavior, Michael agrees to let the humans keep their memories and help them get into the true Good Place as well as to take Chidi's ethics lessons.

tag: ul

text: Recurring[edit]

text:
Tiya Sircar as the "real Eleanor Shellstrop", a human rights lawyer mistakenly sent to The Bad Place, who was killed trying to save Eleanor from a traffic accident, causing confusion because the two Eleanors were close to one another and died almost simultaneously. In the finale of season 1, she is revealed to be a demonic colleague of Michael's named Vicky Sengupta, who is part of the experiment. In season 2, in one of many reboots, Michael gives Vicky a significantly smaller role as Denise, a restaurant owner, to Vicky's dissatisfaction. After having to go through hundreds of Michael's failed attempts, Vicky blackmails him, saying he will reboot the neighborhood and blank the memories of the humans again, and put her in charge of the new neighborhood, saying that if he does not agree to her terms (and to meet the demands of the other demons, who all want something different out of this newest attempt), she will alert Shawn to her documentation of his many failures, and request that he initiate Michael's retirement. This makes Michael desperate enough to team up with the humans, whose memories he only pretends to blank.
Adam Scott as Trevor. In season 1, he is portrayed as a sinister figure representing The Bad Place, sent upon Eleanor's true identity being revealed, vowing to take her with him. He leads an entourage of demons that parties endlessly and bullies Michael.[8]
Marc Evan Jackson as Shawn, an all-powerful Eternal Judge who decides on matters between the two realms. He is called in to hear Eleanor's fate. In the season 1 finale, his true nature was revealed: he is Michael's boss. He believes Michael will fail in his second attempt, and he makes it clear that Michael's failure in this regard will result in Michael's retirement, and that only one more chance will be given.
Maribeth Monroe as Mindy St. Claire, the only resident of The Medium Place, a neutral plane of existence between The Good Place and The Bad Place. She is a former real-estate lawyer, cocaine addict, and is somewhat sexually depraved, as evidenced by the fact that she has taped and kept track of times when Eleanor and Chidi shared intimacy during their repeated visits. Regarding those visits, she told a reluctant and disbelieving Eleanor that she (Eleanor) and Chidi have been romantically linked for a long time, even though it may seem to Eleanor as if she and Chidi just met. Because of her location and existence, Mindy is a real person and not subjected to the experimental nature in which both places are being run. It is implied that Mindy died in the 1980s as evidenced in her environmental surroundings (such as having a TV set with recordable VHS tapes which enabled her to record one of the sex tapes over Cannonball Run 2; she also has a People magazine cover featuring Pierce Brosnan that she keeps reading).
Jason Mantzoukas as Derek, an artificial "rebound guy" that Janet creates to get over Jason.

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
13
September 19, 2016 (2016-09-19)
January 19, 2017 (2017-01-19)

2
13
September 20, 2017 (2017-09-20)
TBA

tag: table

text: Production[edit]

text: Development and casting[edit]

text: NBC issued a press release on August 13, 2015, announcing it had given the then untitled show a 13-episode order based purely on a pitch by Michael Schur.[9] On January 12, 2016, it was announced that Kristen Bell and Ted Danson had been cast in the lead roles for the series. The first synopsis of the show was also released, stating that the show was set to revolve around Eleanor designing her own self-improvement course with Michael acting as her guide[3] – although the afterlife element had always been a part of the series, as Kristen Bell has stated she was aware of the first-season finale twist when she signed onto the show.[10]

text: William Jackson Harper was cast as Chris on February 11, 2016,[4] though the character was renamed Chidi. Jameela Jamil was cast as Tessa on February 25, 2016,[5] and her character was renamed Tahani. On March 3, 2016, Manny Jacinto was revealed to have been cast as a "sweet and good-natured Jason" whose "dream is to make a living as a DJ in Southern Florida."[7] On March 14, 2016, D'Arcy Carden was cast in the final series regular role as Janet Della-Denunzio, a violin salesperson with a checkered past[6] – though the character was completely reworked, she retained her original first name in the series.

text: The final premise for the show, including the afterlife element, was ultimately announced on May 15, 2016, when NBC announced its schedule for the 2016–17 TV season.[11]

text: Filming[edit]

text: According to Schur, the premise and idea was to include religious elements into the series after doing research on various faiths and groups, but he decided to scrap the plans, instead going for a concept that included all faiths that was diverse and free of religious views. "I stopped doing research because I realized it's about versions of ethical behavior, not religious salvation," he says. "The show isn't taking a side, the people who are there are from every country and religion." Schur also points out that the setting (shot in San Marino, California's Huntington Gardens) already had the feeling of a pastiche of different cultures, stating that the neighborhoods will feature people who are part of nondenominational and interdenominational backgrounds that interact with each other regardless of religion.[12]

text: The series' setting and premises, as well as the serialized cliffhangers were modeled on Lost, a favorite of Schur. One of the first people he called when he developed the series was Lost co-creator Damon Lindelof. "I took him to lunch and said, 'We're going to play a game [of] 'Is this anything?'" He then added "I imagine this going in the Lost way," with cliffhangers and future storylines".[13]

text: The first season's surprise twist, that the Good Place was the Bad Place, and Chidi, Eleanor, Jason and Tahani were the four souls chosen because they were best suited to torture each other indefinitely, is very similar in premise to philosopher Jean-Paul Sartre's stage play No Exit, in which three strangers die, are escorted to a single room by a friendly bellhop where they are informed they must co-exist together, but ultimately determine they are entirely incompatible and thus come to the conclusion that "hell is other people". The only actors who knew the truth from the start were Danson and Bell.[14]

text: Critics have also suggested resemblances to 1960s surreal TV show The Prisoner in its isolated, rule-bound setting.[15][16][17]

text: Broadcast and release[edit]

text: Since the start of season two in September 2017, Netflix distributes the show to various international markets with new episodes being released a few hours after their original American airing.[18]

text: Home media[edit]

text: The first season was released on DVD in region 1 on October 17, 2017.[19]

text: Reception[edit]

text: Ratings[edit]

text:
Season
Time slot (ET)
Episodes
Season premiere
Season finale
TV season
Rank
Viewers
(in millions)

Date
Viewers
(in millions)
Date
Viewers
(in millions)

1
Monday 10:00 pm (premiere)
Thursday 8:30 pm
13
September 19, 2016
8.04[20]
January 19, 2017
3.93[21]
2016–17
#77
5.72[22]

2
Wednesday 10:00 pm (premiere)
Thursday 8:30 pm
13
September 20, 2017
5.28[23]
TBA
TBA
2017–18
TBA
TBA

text: Critical reception[edit]

text: The Good Place has received positive reviews from television critics. On Rotten Tomatoes, the first season has a rating of 90%, based on 52 reviews, with an average rating of 7.84/10. The site's critical consensus reads, "Kristen Bell and Ted Danson knock it out of the park with supremely entertaining, charming performances in this absurd, clever and whimsical portrayal of the afterlife."[24] On Metacritic, the first season has a score of 78 out of 100, based on reviews from 32 critics, indicating "generally favorable reviews".[25]

text: The editors of TV Guide placed The Good Place second among the top ten picks for the most anticipated new shows of the 2016–17 season. In its review from writer Liam Matthews, "NBC's new comedy has an impressive pedigree" (referring to Mike Schur, and stars Kristen Bell and Ted Danson, the latter cited as "arguably the greatest sitcom actor of all time"). Matthews concludes that "The hope is that their combined star power can restore NBC's tarnished comedy brand to its former glory. It won't be the next Friends, but it's something even better: a network comedy that feels different than anything that's come before."[26]

text: Jason Martin, a critic for Outkick the Coverage, placed The Good Place on his list of best comedies of the year for 2016.[27]

text: The second season has received highly positive reviews from critics. On Rotten Tomatoes, the second season has a rating of 100%, based on 26 reviews, with an average rating of 8.62/10. The site's critical consensus reads, "By voluntarily blowing up its premise, The Good Place sets up a second season that proves even funnier than its first."[28] On Metacritic, the second season has a score of 87 out of 100, based on reviews from 10 critics, indicating "universal acclaim".[29]

text: Accolades[edit]

text:
Year
Association
Category
Nominee
Result

2016
TV Guide[26]
Most Exciting TV Series
The Good Place
Runner-up

Critics' Choice Television Awards[30]
Most Exciting New Series
The Good Place
Won

IGN Awards[31]
Best TV Comedy Series
Nominated

2017
Gold Derby Awards[32]
Comedy Lead Actor
Ted Danson
Nominated

People's Choice Awards[33]
Favorite New Comedy Series
The Good Place
Nominated

Television Critics Association[34]
Outstanding Achievement in Comedy
Nominated

Outstanding New Program
Nominated

Individual Achievement in Comedy
Kristen Bell
Nominated

Saturn Awards[35]
Best Fantasy Television Series
The Good Place
Nominated


document_title: France in the American Revolutionary War

question_text: what country supported the united states after the battle of saratoga

text: American origins of the conflict[edit]

text: After its defeat in the Seven Years' War in 1763, France lost its vast holdings in North America. Meanwhile, the American colonists and the British government began to fight over whether Parliament in London or the colonial assemblies had primary responsibility for taxation. As part of that conflict, the colonists organized the Boston Tea Party in response to a tax on tea. The British government responded by passing the Intolerable Acts, which included the closing of Boston Harbor and the revocation of Massachusetts's colonial charter.[1] This conflict exacerbated tensions further. The ideological conflict escalated into open warfare in 1775, at which point the American patriots revolted against British rule. France, who had been rebuilding her Navy and other forces, saw this as an opportunity to seriously weaken her perennial enemy. [2]

text: French involvement[edit]

text: France bitterly resented its loss in the Seven Years' War and sought revenge. It also wanted to strategically weaken Britain. Following the Declaration of Independence, the American Revolution was well received by both the general population and the aristocracy in France. The Revolution was perceived as the incarnation of the Enlightenment Spirit against the "English tyranny." Benjamin Franklin traveled to France in December 1776 in order to rally the nation's support, and he was welcomed with great enthusiasm. At first, French support was covert: French agents sent the Patriots military aid (predominantly gunpowder) through a company called Rodrigue Hortalez et Compagnie, beginning in the spring of 1776. Estimates place the percentage of French supplied arms to the Americans in the Saratoga campaign at up to 90%.[3] By 1777, over five million livres of aid had been sent to the American rebels.

text: Motivated by the prospect of glory in battle or animated by the sincere ideals of liberty and republicanism, volunteers like Pierre Charles L'Enfant joined the American army. The most famous was Lafayette, a charming young aristocrat who defied the king's order and enlisted in 1777 at age 20. He became an aide to George Washington and a combat general. More importantly, he solidified a favorable American view of France. Kramer argues that Lafayette provided a legitimacy for the war and confidence that there was serious European support for independence. Lafayette's personal style was highly attractive; the young man learned quickly, adapted to the Patriot style, avoided politics, and became a fast friend of General Washington. Fifty years later, after a major career in French politics, he returned as a beloved hero of the war.[4]

text: Debate over quiet aid or declaring open war[edit]

text: Up against the British power, the young nation lacked arms and allies, and so it turned towards France. France was not directly interested in the conflict, but saw it as an opportunity to contest British power by supporting a new British opponent. Through negotiations conducted first by Silas Deane and then by Benjamin Franklin, France began covert support of the American cause.

text: Secretly approached by Louis XVI and France's foreign minister, the comte de Vergennes, Pierre Beaumarchais was authorized to sell gunpowder and ammunition to the Americans for close to a million pounds under the veil of the French company Rodrigue Hortalez et Compagnie. The aid given by France, much of which passed through the neutral Dutch West Indies port of Sint Eustatius, contributed to George Washington's survival against the British onslaught in 1776 and 1777. The aid was also a major factor in the defeat of General Burgoyne's expedition in the Champlain corridor that ended in a British disaster at Saratoga. French ports accommodated American ships, including privateers and Continental Navy warships, that acted against British merchant ships. France provided significant economic aid, either as donations or loans, and also offered technical assistance, granting some of its military strategists "vacations" so they could assist American troops.

text: Silas Deane, appointed by the Americans and helped by French animosity towards Britain, obtained unofficial aid, starting in early 1776. However, the goal was the total involvement of France in the war. A new delegation composed of Franklin, Deane, and Arthur Lee, was appointed to lobby for the involvement of European nations. Franklin, age 70 and already well known in French intellectual circles for his scientific discoveries, served as the chief diplomat with the title of "minister" (the term "ambassador" was not used). He dressed in rough frontier clothes rather than formal court dress, and met with many leading diplomats, aristocrats, intellectuals, scientists and financiers. Franklin's image and writings caught the French imagination – there were many images of him sold on the market – and he became the image of the archetypal new American and a hero for aspirations for a new order inside France. When the international climate at the end of 1777 had become tenser, Habsburg Austria requested the support of France in the War of the Bavarian Succession against the Prussia in line with the Franco-Austrian Alliance. France refused, causing the relationship with Austria to turn sour. Under these conditions, asking Austria to assist France in a war against the British was impossible. Attempts to rally Spain also failed: Spain did not immediately recognize potential gains, and the American revolutionary spirit was seen as threatening the legitimacy of the Spanish Crown in its own American colonies.

text: Public opinion in France was in favor of open war, but King Louis and his advisors were reluctant due to the possible risks and heavy expenses involved. The king's economic and military advisors, in particular, remained reluctant. The French Navy was being rapidly rebuilt, but there were doubts as to how ready it was for serious conflict. Financiers Turgot and Necker warned war would be very expensive for France's wobbly system of taxation and finance.

text: The Americans argued that an alliance of the United States, France, and Spain would assure a rapid defeat of the British, but Vergennes, waiting until his navy was ready, hesitated. On July 23, 1777, Vergennes decided that it was time to decide either total assistance, with war, or abandonment of the new nation. The choice, ratified by the king, was war.[5]

text: Entry into the war[edit]

text: The British had taken Philadelphia in 1777, but American victory at the Battle of Saratoga brought back hope to the Patriots and enthusiasm in France. The army of Burgoyne surrendered to American forces after Saratoga and France realized that the United States could be victorious. The king directed Vergennes to negotiate an alliance with the Americans.[6]

text: France formally recognized the United States on February 6, 1778, with the signing of the Treaty of Alliance. Hostilities soon followed after Britain declared war on France on March 17, 1778. The British naval force, then the largest fleet afloat, and French fleet confronted each other from the beginning. The British avoided intercepting a French fleet that left Toulon under the comte d'Estaing in April for North America, fearing the French fleet at Brest might then be used to launch an invasion of Britain. France had kept the Brest fleet to protect commercial shipping in European waters, and it sailed out only after a British fleet was confirmed to have left in pursuit of d'Estaing, thus weakening the British Channel fleet. In spite of this reduction, the British fleet still outnumbered the French fleet at Brest, and Admiral d'Orvilliers was instructed to avoid combat when he sailed in July. D'Orvilliers met the fleet of Admiral Augustus Keppel in the indecisive Battle of Ushant on July 27, after which both fleets returned to port for repairs.

text: France did consider the landing of 40,000 men in the nearby British Isles but abandoned the idea because of logistical issues. On the continent, France was protected through its alliance with Austria which, even if it did not take part in the American Revolutionary War, affirmed its diplomatic support of France.

text: Other nations in Europe at first refused to openly join the war but both Spain and the Dutch Republic gave unofficial support to the American cause. Vergennes was able to convince the Spanish to formally enter the war in 1779 and, in 1780, Britain declared war on the Dutch Republic over claims of Dutch violations of neutrality.

text: North American operations[edit]

text: French participation in North America was initially maritime in nature and marked by some indecision on the part of its military leaders. In 1778, American and French planners organized an attempt to capture Newport, Rhode Island, then under British occupation. The attempt failed, in part because Admiral d'Estaing did not land French troops prior to sailing out of Narragansett Bay to meet the British fleet. He then sailed to Boston after his fleet was damaged in a storm. In 1779, d'Estaing again led his fleet to North America for joint operations, this time against British-held Savannah, Georgia. About 3,000 French joined with 2,000 Americans in the Siege of Savannah, in which a naval bombardment was unsuccessful. An attempted assault of the entrenched British position was repulsed with heavy losses.

text: Support became more notable when, in 1780, 6,000 soldiers led by Rochambeau landed at Newport, itself abandoned in 1779 by the British, and then established a naval base there. These forces were largely inactive since the fleet was closely watched by the British fleet from its bases in New York and eastern Long Island. By early 1781, with the war dragging on, French military planners were finally convinced that more significant operations would be required in North America to bring a decisive end to the war. That year's West Indies fleet was commanded by the comte de Grasse, and specific arrangements were made to coordinate operations with him. De Grasse asked to be supplied with North American pilots and to be informed of possible operations in North America to which he might contribute. Rochambeau and Washington met in Wethersfield, Connecticut in May 1781 to discuss their options. Washington wanted to drive the British from both New York City and Virginia (the latter led first by turncoat Benedict Arnold, then by Brigadier William Phillips and eventually by Charles Cornwallis). Virginia was also seen as a potent threat that could be fought with naval assistance. These two options were dispatched to the Caribbean along with the requested pilots. Rochambeau, in a separate letter, urged de Grasse to come to the Chesapeake Bay for operations in Virginia. Following the Wethersfield conference, Rochambeau moved his army to White Plains, New York and placed his command under Washington.

text: De Grasse received these letters in July at roughly the same time Cornwallis was preparing to occupy Yorktown, Virginia. De Grasse concurred with Rochambeau and subsequently sent a dispatch indicating that he would reach the Chesapeake at the end of August but that agreements with the Spanish meant he could only stay until mid-October. The arrival of his dispatches prompted the Franco-American army to begin a march for Virginia. De Grasse reached the Chesapeake as planned and his troops were sent to assist Lafayette's army in the blockade of Cornwallis's army. A British fleet sent to confront de Grasse's control of the Chesapeake was defeated by the French on September 5 at the Battle of the Chesapeake and the Newport fleet delivered the French siege train to complete the allied military arrival. The Siege of Yorktown and following surrender by Cornwallis on October 19 were decisive in ending major hostilities in North America.[7]

text: Other theaters[edit]

text: Other important battles between the French and the British were spaced out around the world, from the West Indies to India. France's navy at first dominated in the West Indies, capturing Dominica, Grenada, Saint Vincent, Montserrat, Tobago, and St. Kitts, but losing St. Lucia at the beginning of the war. A planned Franco-Spanish invasion of Jamaica was aborted after the decisive Battle of the Saintes in 1782. At the end of the war. the French captured the Turks and Caicos Islands. In European waters, France and Spain joined forces with the entry of Spain into the war in 1779. An attempted invasion of Britain failed due to a variety of factors. French and Spanish forces besieged Gibraltar from 1779 to 1783, but were unsuccessful in either storming the site, or preventing repeated British relief of its garrison. They were more successful in capturing Minorca in Europe and Demerara and Essequibo in South America in February 1782.

text: In India, British troops gained control of French outposts in 1778 and 1779, sparking the Kingdom of Mysore, a longtime French ally, to begin the Second Anglo-Mysore War. Allied with the French, the Mysoreans for a time threatened British positions on the east coast, but that war ended status quo ante bellum in 1784. A French fleet commanded by the Bailli de Suffren fought a series of largely inconclusive battles with a British fleet under Sir Edward Hughes, and the only major military land action, the 1783 Siege of Cuddalore, was cut short by news that a preliminary peace had been signed.

text: Because of decisive battles on American soil, the French were in a strong position during the peace negotiations in Paris.

text: Peace and consequences[edit]

text: Starting with the Siege of Yorktown, Benjamin Franklin never informed France of the secret negotiations that took place directly between Britain and the United States. Britain acknowledged that the United States owned all the land south of the Great Lakes and east of the Mississippi River, except for Florida (which went to Spain). However, since France was not included in the American-British peace discussions, the alliance between France and the U.S. was weakened. Thus the influence of France and Spain in future negotiations was limited.[8]

text: The war formally ended in September 1783 with the signing of the Treaty of Paris. France gained (or regained) territories in the Americas, Africa, and India. Losses in the 1763 Treaty of Paris and in the Treaty of Utrecht (1713) were in part regained: Tobago, Saint Lucia, the Senegal River area, as well as increased fishing rights in Terra Nova. Spain regained Florida and Minorca, but Gibraltar remained in the hands of the British.

text: Because the French involvement in the war was distant and naval in nature, over a billion livres tournois were spent by the French government to support the war effort, raising its overall debt to about 3.315 billion. The finances of the French state were in disastrous shape and were made worse by Jacques Necker, who, rather than increase taxes, used loans to pay off debts. State secretary of Finances Charles Alexandre de Calonne attempted to fix the deficit problem by asking for the taxation of the property of nobles and clergy but was dismissed and exiled for his ideas. The French instability further weakened the reforms that were essential in the re-establishment of stable French finances. Trade also severely declined during the war, but was revived by 1783.

text: The war was especially important for the prestige and pride of France, who was reinstated in the role of European arbiter. However, Great Britain, not France, became the leading trading partner of the United States.[9] The French took pride in their cultural influence on the young country through the Enlightenment, as attested by Franklin and Jefferson, and as embodied in the Declaration of Independence in 1776 and the United States Constitution in 1787. In turn, the Revolution influenced France.[10] Liberal elites were satisfied by the victory but there were also some major consequences. European conservative Royalists and nobility had become nervous, and began to take measures in order to secure their positions. On May 22, 1781, the Decree of Ségur closed the military post offices of the upper rank to the common persons, reserving those ranks exclusively for the nobility.

text: Financial aspects[edit]

text: In all the French spent 1.3 billion livres to support the Americans directly, in addition to the money it spent fighting Britain on land and sea outside the U.S.[11][12][13]

text: France's status as a great modern power was re-affirmed by the war, but it was detrimental to the country's finances. Even though France's European territories were not affected, victory in a war against Great Britain with battles like the decisive siege of Yorktown in 1781 had a large financial cost which severely degraded fragile finances and increased the national debt. France gained little except that it weakened its main strategic enemy and gained a new, fast-growing ally that could become a welcome trading partner. However, the trade never materialized, and in 1793 the United States proclaimed its neutrality in the war between Great Britain and the French Republic.[14]

text: Some historians argue that France primarily sought revenge against Great Britain for the loss of territory in North America and India from the previous conflict. But Jonathan R. Dull states that France intervened because of dispassionate calculation, not because of Anglophobia or a desire to avenge the loss of Canada.[15]


document_title: Jesus Christ Superstar

question_text: when did jesus christ superstar open in chicago

text: Jesus Christ Superstar

text: Plot[edit]

text: Act I[edit]

text: In the year 30 AD, Judas Iscariot, a sullen member of the 12 apostles, expresses his concern over Jesus's rising popularity as a "king" and the negative repercussions that will have. He strongly criticises Jesus for accepting his followers' unrealistic views, and for not heeding his concerns ("Heaven on Their Minds"). While Judas still loves Jesus, he believes that Jesus is just a man, not God, and worries that Jesus's following will be seen as a threat to the Roman Empire which would then severely punish Jesus, his associates, and possibly the Jewish people as a whole. Judas's warning goes unheeded, as Jesus's followers have their minds set on going to Jerusalem with Jesus. As they ask Jesus for information about his plans for the future, Jesus will not give them any, since whatever will happen is determined by God ("What's the Buzz?").

text: Recognizing that Jesus is irritated by the badgering and lack of understanding from his followers, Mary Magdalene tries to help Jesus relax. Judas is concerned that Jesus is associating with a woman of "her profession", as if she were a prostitute. It seems to Judas that Jesus is contradicting his own teaching, and he worries that this apparent lack of judgment will be used against Jesus and his followers ("Strange Thing Mystifying"). Jesus tells Judas that Mary is with him now, and unless Judas is without sin he should not judge the character of others. Jesus then reproaches his apostles for being "shallow, thick, and slow" and somewhat bitterly answers that not a single one of them cares about him. Mary Magdalene tries to assure Jesus that everything is alright while anointing him with oil ("Everything's Alright"). Judas angrily insists that the money used to obtain the oil should have been used to help the poor instead. Jesus sadly declines that he and his followers do not have the resources to alleviate poverty and that they should be glad for the privileges they have. He claims that once his followers no longer have him, they will lose their path.

text: Meanwhile, Caiaphas, the High Priest of Israel, assembles the Pharisees together at the Sanhedrin to talk about Jesus and his disciples. According to the Pharisees, Jesus's growing following consists of Jews unwilling to accept the Romans as their rulers, and the priests believe that Jesus may come to be seen as a threat to the Roman Empire, and to the priesthood's integrity; if the Romans retaliate, many Jews will suffer, even those who are not following Jesus. Caiaphas then concludes that there could be great bloodshed and the stakes are "frighteningly high!". So, for the greater good, he suggests they should "crush him completely! So like John before him, this Jesus must die!", and the Pharisees concur upon his decision ("This Jesus Must Die"). As Jesus and his followers arrive exultantly in Jerusalem, they are confronted by Caiaphas, who demands that Jesus should postpone this parade, which Jesus says would be futile and change nothing, and he proceeds to greet the happy Israelites instead ("Hosanna"). As the crowd cheers him on, they suddenly ask, "Hey JC, JC, won't you die for me?" To this, Jesus visibly reacts with concern. Then, one of his apostles, Simon the Zealot, suggests that Jesus lead his mob in a war against Rome and gain absolute power ("Simon Zealotes"). Jesus rejects this suggestion, stating that none of his followers understand what true power is, nor do they understand his true message ("Poor Jerusalem").

text: Pontius Pilate, the governor of Judea, has had a dream, in which he meets with a Galilean (in the form of Jesus) and that he, Pilate, will receive all of the blame for the man's violent and mournful death, predicting the rise of Christianity ("Pilate's Dream"). Jesus arrives at the Temple in Jerusalem and finds that it has become a haven of sin and debauchery as it is being used for selling everything from usury and weapons to prostitutes and drugs; angered by this, Jesus drives everyone out ("The Temple"). Angry, disconsolate, and tired by his burden, Jesus is confronted by lepers, cripples, and beggars, all wanting to be healed. Even though he heals some, their number increases, and he is overwhelmed. Unable to solve everyone's problems, Jesus screams "HEAL YOURSELVES!!!" until he finds Mary Magdalene by his side, laying him to rest ("Everything's Alright (Reprise)"). While Jesus is asleep, Mary acknowledges that she is unconditionally in love with Jesus, unlike any man she has known before, and it frightens her ("I Don't Know How to Love Him").

text: Conflicted, Judas seeks out the Pharisees and promises to help them arrest Jesus, while belaboring that he is acting with unselfish motives and that Jesus himself would approve if he knew those motives ("Damned for All Time"). Sustaining his testimony, Caiaphas and Annas ask that Judas reveal the location of Jesus so that the authorities can apprehend him. In exchange for the information, Judas is offered thirty pieces of silver as a "fee" so that he can assuage his conscience by using the money charitably ("Blood Money"). Judas decides that it would be better to turn Jesus in before his popularity leads to the deaths of Jesus and his followers, Judas included. He reveals that on Thursday night, Jesus will be at the Garden of Gethsemane.

text: Act II[edit]

text: At what Jesus knows will be the Last Supper, he pours wine and passes bread for his apostles ("The Last Supper"). Very aware of the ordeal he faces, he is stung when the others pay little attention to him; "For all you care this wine could be my blood / For all you care this bread could be my body," he remarks, alluding to (and anticipating) the Christian doctrine of the Eucharist. He asks them to remember him when they eat and drink; he predicts that Peter will deny him three times "in just a few hours" and that one of them will betray him. Judas, believing that Jesus already knows ("cut the dramatics, you know very well who"), admits he is the one and angrily accuses Jesus of acting recklessly and egotistically. Claiming he does not understand Jesus's decisions, he leaves to bring the Roman soldiers.

text: The remaining apostles fall asleep, and Jesus retreats to the Garden of Gethsemane to pray ("Gethsemane"). He admits to God his doubts, fears, and anger; that he is tired and has done all he can. He asks powerfully if any of it has meaning and implores God not let him suffer the horrible death that portends for him. He feels disillusioned with his quest as the Messiah, does not understand what it has achieved, and wishes to give up. Receiving no answer, Jesus realises that he cannot defy God's will, and surrenders to God. His prayer ends with a request that God take him immediately, "before I change my mind."

text: Finally, Judas arrives with Roman soldiers and identifies Jesus by kissing him on the cheek ("The Arrest"). While Jesus is being arrested, his apostles attempt to fight the soldiers, Jesus tells them to let the soldiers take him to Caiaphas. On the way, a mob (acting like—and sometimes represented as—modern-day news reporters) asks Jesus what he plans to do, but Jesus declines to comment. When Jesus is brought to trial before the Sanhedrin, Caiaphas demands if he is the King of the Jews. Jesus responds: "That's what you say, you say that I am." This answer is affirmative according to Jewish custom, and that provides enough justification for the Pharisees to bring Jesus to Pilate. Meanwhile, Jesus's apostle Peter is confronted by an old man, a soldier and a maid, and Peter denies to each that he knows Jesus ("Peter's Denial"). Mary asks Peter why he denied Jesus, and Peter responds that he had to do it in order to save himself. Mary wonders how Jesus knew that Peter would deny him three times.

text: Later, Pilate asks Jesus if he is the King of the Jews. Jesus gives the same answer that he gave Caiaphas: "that's what you say."[1] Since Jesus is from Galilee, Pilate says that he is not under his jurisdiction and sends him to King Herod ("Pilate and Christ"). As Jesus is dragged away, the chorus asks where Jesus's power has gone. The decadent and flamboyant King Herod persuades Jesus to prove his divinity by performing miracles, offering to free him if he complies ("King Herod's Song (Try It And See)"), but Jesus ignores him. Herod decides that Jesus is just another phony messiah and angrily sends him back to Pilate. Meanwhile, 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?")[2]

text: Later, Judas is horrified upon beholding Jesus's harsh treatment by the authorities. Feeling extreme guilt for this, and panicking that he will be seen as responsible, Judas expresses regret to the pharisees, fearing he will forever be remembered as a traitor. Thankfully, Caiaphas and Annas never believe him, saying that what he has done now will save everyone and that he should not feel remorse for his actions. Although rewarded for a job well done, Judas recognizes that memories of this could haunt the rest of his life, that God chose him to be the one to betray Jesus, and that he has been used as a pawn for the "foul bloody crime". He suffers a mental breakdown during the epiphany, cursing God for his manipulative ways, and in a final attempt to detach himself from his destiny, he commits suicide by hanging himself from a tree ("Judas's Death").

text: At Jesus's trial, Pilate interrogates Jesus into revealing the whereabouts of his kingdom, but was cut off by a bloodthirsty mob who demands that Jesus should be sentenced to death by crucifixion. In spite of the mob’s behavior,[3] Pilate remembers the dream he had about the mob and the unjust execution of Jesus. Pilate tells the mob that, while Jesus should be imprisoned, he does not deserve to die. Pilate demands that the crowd give him a reason to condemn Jesus, and the mob answers that Jesus is a blasphemer and has defied the Roman Empire. However, after revealing Jesus as nothing more than a pathetic human being, Pilate calls the crowd hypocrites, as he knows they hate Roman rule. Even so, he decides to satisfy their bloodlust by having Jesus flogged, counting thirty-nine bloody strokes ("Trial Before Pilate, (Including The Thirty-Nine Lashes)"). Pilate, clearly disturbed by the whole ordeal, pleads with Jesus to defend himself, but Jesus says weakly that everything has been determined, by God, and Pilate cannot change it. More outraged by Jesus's words, the crowd still calls for Jesus's death, informing Pilate that he has his duty to keep the peace. Finally, he reluctantly agrees to crucify Jesus to keep the crowd from getting violent, saying to Jesus: "Don’t let me stop your great self-destruction! Die if you want to, you misguided martyr! I wash my hands of your demolition! Die if you want to, you – innocent puppet...."

text: As Jesus prepares to be crucified, he is mocked by the ghost of Judas, who questions why Jesus chose to arrive in the manner and time that he did, and if what happened to him was really part of a divine plan, but Judas' questions go unanswered ("Superstar").[4] After reciting his final words and commending his spirit to God, Jesus slowly dies on the cross, his fate coming full circle ("The Crucifixion"). In the end, the Apostles and Mary, mourning the death of their fallen saviour, reflect on the impact he has had on their lives ("John Nineteen: Forty-One").[5]

text: Principal roles[edit]

text:
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 the twelve apostles of Jesus; 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
tenor (A2–B4)
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)
One of the main antagonists of the show. High priest who sees Jesus as a threat to the nation.

Annas
countertenor (G2–D5)
One of the main antagonists of the show. 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.

text: Instrumentation[edit]

text: 2 flutes, clarinet, 2 bassoons, 2 saxophones (one tenor), 6 horns, 4 trumpets, 2 trombones, drum set, percussion set, 6 guitars (1 acoustic, 2 electric, 4 bass), 5 pianos, electric piano, 3 organs, positive organ, and strings. Additional vocals are provided by a choir, a children's choir ("Overture"), and other singers ("Superstar").[6]

text: Musical numbers[edit]

text:
Act One

"Overture" – Orchestra
"Heaven on Their Minds" – Judas
"What's the Buzz?" – Jesus, Apostles
"Strange Thing Mystifying" - Judas, Jesus, Apostles
"Everything's Alright" – Mary, Judas, Jesus, Women, Apostles
"This Jesus Must Die" – Caiaphas, Annas, Priests
"Hosanna" – Jesus, Caiaphas and Company
"Simon Zealotes" - Simon and Company
"Poor Jerusalem" - Jesus
"Pilate's Dream" – Pilate
"The Temple" – Jesus, Ensemble
"Everything's Alright (reprise)" – Mary, Jesus
"I Don't Know How to Love Him" – Mary
"Damned For All Time" – Judas
"Blood Money" - Caiaphas, Annas, Judas, Choir

Act Two

"The Last Supper" – Jesus, Judas, Apostles
"Gethsemane (I Only Want to Say)" – Jesus
"The Arrest" – Judas, Jesus, Peter, Apostles, Annas, Caiaphas, Ensemble
"Peter's Denial" – Maid by the Fire, Peter, Soldier, Old Man, Mary
"Pilate and Christ" – Pilate, Soldier, Jesus, Ensemble
"King Herod's Song" – Herod and Company
"Could We Start Again Please?" – Mary and Peter
"Judas' Death" – Judas, Annas, Caiaphas, Ensemble
"Trial Before Pilate" – Pilate, Caiaphas, Jesus, Ensemble
"Superstar" – Judas, Soul Sisters, Angels
"The Crucifixion" – Jesus, Ensemble
"John Nineteen: Forty-One" – Orchestra

text: Production[edit]

text: 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. (February 2015) (Learn how and when to remove this template message)

text: The songs were first written and conceived as a concept album, before the musical was created and staged.[7] 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.[8]

text: Original Broadway production[edit]

text: 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. Kurt Yaghjian was Annas, and Ted Neeley (as a Christ understudy), Samuel E. Wright and Anita Morris appeared in the cast. Carl 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."[9][10] Lloyd Webber said in 2012: "I hugely objected to the original New York production, which was probably the worst night of my life. It was a vulgar travesty."[7] The show was nominated for five Tony Awards, including Best Score, but didn't win any. Lloyd Webber won a Drama Desk Award as "Most Promising Composer", and Vereen won a Theatre World Award.

text: Controversy[edit]

text: 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."[11][12] Some Christians considered such comments to be blasphemous, the character of Judas too sympathetic and some of his criticisms of Jesus offensive.[13] At the same time, some Jews claimed that it bolstered the antisemitic belief that the Jews were responsible for Jesus' 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.[14][15] The musical was banned in South Africa for being "irreligious".[16] A 1972 production of the play was banned in the Hungarian People's Republic for "distribution of religious propaganda".[17]

text: Other 1970s and 1980s productions[edit]

text: 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.[18]

text: 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.[19] This was followed in May by the first full Australian production, at the Capitol Theatre, Sydney, later moving to the Palais Theatre in Melbourne.[20] 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 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.[21] 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.[21] The premiere was directly broadcast by Radio Television of Belgrade.[21] Bora Đorđević[22] and Srđan Marjanović, at the time a little known musicians, also participated as members of the choir.[23] The production was praised by the Yugoslav public.[21]

text: 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.[24] In 1974, first Spanish-language production ran in Mexico with the title "Jesucristo Super Estrella". Julissa played Mary Magdalen. The musical was seen in 1974 in Peru and Singapore.[25]

text: 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.[26] Regional productions followed.[citation needed]

text: 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]

text: 1990s and 2000s[edit]

text: 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. Replacements in this tour included 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 as Jesus, Emily Saliers as Mary Magdalene and Michael Lorant as Judas.

text: 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 and Alice Cooper as King Herod. The production was nominated for a 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.[27] 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.

text: 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 and Corey Glover as Judas, began in 2006 and played for five years. A Chilean heavy metal version has played annually in Santiago since 2004.[28] In Boston, Gary Cherone portrayed Jesus in productions in 1994, 1996 and 2003 and Judas in 2000.

text: 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.[29] Reviews were mixed.[30][31] The revival was nominated for two Tonys: Best Revival and, for Young, Best Actor.[32] Neither award was won, but Young won a Theatre World Award. The revival closed after 116 performances and 24 previews.[33]

text: 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.[34][7] The production also starred Tim Minchin as Judas, Melanie C as Mary Magdalene and Chris Moyles as King Herod.[35] 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."[7] The tour resumed in March 2013 in the UK, and an Australian leg of the tour commenced in Perth in May 2013.[36] Andrew O'Keefe played King Herod in Australia, with Jon Stevens as Pilate. Stevens had played Judas in an Australian arena tour in 1992.[37][38]

text: In 2016, celebrating 45 years since the musical debuted on Broadway, Jesus Christ Superstar returned to London at Regent's Park Open Air Theatre, directed by Timothy Sheader. The production won the BBC Radio 2 Audience Award for Best Musical at the Evening Standard Theatre Awards,[39] and a Laurence Olivier Award for Best Musical Revival.[40] The production returned to the Open Air Theatre as part of the 2017 season, running from 11 August 2017 to 23 September.[41] Additionally, the Lyric Opera of Chicago is hosting a run of the opera from late April 2018 to late May 2018. [42]

text: Notable international productions[edit]

text: Two notable Jesuses were Takeshi Kaga, in the 1976 Japanese production, and Camilo Sesto in the 1975 Spanish production[why?]. Mary Magdalene was 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.[43] 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.

text: 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.[44]

text: 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.

text: A 2014 production in São Paulo, Brazil starred Igor Rickli as Jesus. Negra Li was Mary Magdalene.[45] A 2014 production in Lima, Peru, at the Sarita Colonia prison, as part of a rehabilitation program for inmates, received some press.[46] Eighty prisoners mounted the production, directed by inmate Freddy Battifora, who also played the role of Jesus.[47] The Catholic Church approved of the production.[47]

text: Recordings and radio broadcasts[edit]

text: The original 1970 concept album was very popular; its 1971 release topped the US Billboard Pop Albums.[48] The 1972 and 1992 Australian cast recordings were also both highly successful.[49]

text: In 1994, a studio recording under the name of Jesus Christ Superstar: A Resurrection was released.

text: 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.[50]

text: Films[edit]

text: A film adaptation of Jesus Christ Superstar was released in 1973 and was the eighth highest-grossing film of that year. The film, directed by Norman Jewison, was shot in Israel[51] 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. Though it attracted criticism from some religious groups, the film was generally well received.[citation needed] A new song, called "Then We Are Decided" and phrased as a dialogue between Caiaphas and Annas, was written and composed for this adaptation.

text: A second adaptation was filmed in 1999, and released around the world on video in 2000 and 2001.[52] 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.[53] 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.[54] It won the International Emmy Award for Best Performing Arts Film in November 2001.[55] 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.[52]

text: Television[edit]

text: On Easter Sunday, April 1, 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.[56]

text: Principal roles and casting history[edit]

text:
Character
Concept Album
(1970)[57]
Broadway
(1971)[58]
West End
(1972)[59]
Film
(1973)[60]
Broadway Revival
(1977)[61]
West End Revival
(1996)[62]
Film
(2000)[63]
Broadway Revival
(2000)[64]
Broadway Revival
(2012)[65]
Regent's Park Open Air Theatre
(2016)[66]
Live in Concert
(2018)[67]

Jesus Christ
Ian Gillan
Jeff Fenholt
Paul Nicholas
Ted Neeley
William Daniel Grey
Steve Balsamo

Glenn Carter

Paul Alexander Nolan
Declan Bennett
John Legend

Judas Iscariot
Murray Head
Ben Vereen
Stephen Tate
Carl Anderson
Patrick Jude
Zubin Varla
Jérôme Pradon
Tony Vincent
Josh Young
Tyrone Huntley
Brandon Victor Dixon

Mary Magdalene

Yvonne Elliman

Dana Gillespie
Yvonne Elliman
Barbara Niles
Joanna Ampil
Reneé Castle
Maya Days
Chilina Kennedy
Maimuna Memon
Sara Bareilles

Caiaphas
Victor Brox
Bob Bingham
George Harris
Bob Bingham
Christopher Cable
Peter Gallagher

Frederick B. Owens

Marcus Nance
Phillip Browne
Norm Lewis

Pontius Pilate

Barry Dennen

John Parker
Barry Dennen
Randy Wilson
David Burt
Fred Johanson
Kevin Gray
Tom Hewitt
David Thaxton
Ben Daniels

Annas
Brian Keith
Kurt Yaghjian
Jimmy Cassidy
Kurt Yaghjian
Steve Schochet
Martin Callaghan
Michael Shaeffer
Ray Walker
Aaron Walpole
Sean Kingsley
Jin Ha

Simon Zealotes
John Gustafson
Dennis Buckley
Derek James
Larry Marshall
Bobby London
Glenn Carter
Tony Vincent
Michael K. Lee
Lee Siegel
Tim Newman
Erik Grönwall

Peter
Paul Davis
Michael Jason
Richard Barnes
Philip Toubus
Randy Martin
Jonathan Hart
Cavin Cornwall
Rodney Hicks
Mike Nadajewski
Phil King
Jason Tam

King Herod
Mike d'Abo
Paul Ainsley
Paul Jabara
Josh Mostel
Mark Syers
Nick Holder
(Alice Cooper in cast recording)
Rik Mayall
Paul Kandel
Bruce Dow
Peter Caulfield
Alice Cooper

text: Awards and nominations[edit]

text: Original Broadway production[edit]

text:
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

text: 1996 London revival[edit]

text:
Year
Award ceremony
Category
Nominee
Result

1997
Laurence Olivier Award
Best Musical Revival
Nominated

text: 2000 Broadway revival[edit]

text:
Year
Award ceremony
Category
Nominee
Result

2000
Tony Award
Best Revival of a Musical
Nominated

text: 2012 Broadway revival[edit]

text:
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

text: 2016 London revival[edit]

text:
Year
Award ceremony
Category
Nominee
Result

2016
Evening Standard Theatre Awards
Best Musical
Won

Emerging Talent
Tyrone Huntley
Won

2017
Whatsonstage.com Awards
Best Musical Revival
Nominated

Best Supporting Actor in a Musical
Tyrone Huntley
Nominated

Best Choreography
Drew McOnie
Nominated

2017
Laurence Olivier Awards
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 for creating the gig-like rock vibe of the original concept album of Jesus Christ Superstar
Nominated

text: Further reading[edit]

text:
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.