document_title: St Paul's Cathedral

question_text: how many steps to the top of st pauls cathedral

question_tokens: how many steps to the top of st pauls cathedral

text: St Paul's Cathedral

text: History[edit]

text: Pre-Norman cathedrals[edit]

text: A list of the 16 "archbishops" of London was recorded by Jocelyne of Furness in the 12th century, claiming London's Christian community was founded in the 2nd century under the legendary King Lucius and his missionary saints Fagan, Deruvian, Elvanus and Medwin. None of that is considered credible by modern historians but, although the surviving text is problematic, either Bishop Restitutus or Adelphius at the 314 Council of Arles seems to have come from Londinium.[a] The location of Londinium's original cathedral is unknown.

text: Bede records that in AD 604 St Augustine consecrated Mellitus as the first bishop to the Anglo-Saxon kingdom of the East Saxons and their king, Sæberht. Sæberht's uncle and overlord, Æthelberht, king of Kent, built a church dedicated to St Paul in London, as the seat of the new bishop.[6] It is assumed, although unproven, that this first Anglo-Saxon cathedral stood on the same site as the later medieval and the present cathedrals.

text: On the death of Sæberht in about 616, his pagan sons expelled Mellitus from London, and the East Saxons reverted to paganism. The fate of the first cathedral building is unknown. Christianity was restored among the East Saxons in the late 7th century and it is presumed that either the Anglo-Saxon cathedral was restored or a new building erected as the seat of bishops such as Cedd, Wine and Earconwald, the last of whom was buried in the cathedral in 693. This building, or a successor, was destroyed by fire in 962, but rebuilt in the same year.[7][page needed]

text: King Æthelred the Unready was buried in the cathedral on his death in 1016; his tomb is lost. The cathedral was burnt, with much of the city, in a fire in 1087, as recorded in the Anglo-Saxon Chronicle.[7][page needed]

text: The present structure of St Peter upon Cornhill was designed by Christopher Wren following the Great Fire of London in 1666. It stands upon the highest point in the area of old Londinium, and medieval legends tie it to the city's earliest Christian community. In 1995, however, a large and ornate 5th-century building on Tower Hill was excavated, which might have been the city's cathedral.[8][9]

text: The Elizabethan antiquarian William Camden argued that a temple to the goddess Diana had stood during Roman times on the site occupied by the medieval St Paul's Cathedral.[10] Wren reported that he had found no trace of any such temple during the works to build the new cathedral after the Great Fire, and Camden's hypothesis is no longer accepted by modern archaeologists.[11]

text: Old St Paul's[edit]

text: The fourth St Paul's, generally referred to as Old St Paul's, was begun by the Normans after the 1087 fire. A further fire in 1136 disrupted the work, and the new cathedral was not consecrated until 1240. During the period of construction, the style of architecture had changed from Romanesque to Gothic and this was reflected in the pointed arches and larger windows of the upper parts and East End of the building. The Gothic ribbed vault was constructed, like that of York Minster, of wood rather than stone, which affected the ultimate fate of the building.[citation needed]

text: An enlargement programme commenced in 1256. This 'New Work' was consecrated in 1300 but not complete until 1314. During the later Medieval period St Paul's was exceeded in length only by the Abbey Church of Cluny and in the height of its spire only by Lincoln Cathedral and St. Mary's Church, Stralsund. Excavations by Francis Penrose in 1878 showed that it was 585 feet (178 m) long and 100 feet (30 m) wide (290 feet or 87 m across the transepts and crossing). The spire was about 489 feet (149 m) in height.[citation needed]

text: By the 16th century the building was starting to decay. After the Protestant Reformation under Henry VIII and Edward VI, the Dissolution of the Monasteries and Chantries Acts led to the destruction of interior ornamentation and the cloisters, charnels, crypts, chapels, shrines, chantries and other buildings in St Paul's Churchyard. Many of these former Catholic sites in the churchyard, having been seized by the Crown, were sold as shops and rental properties, especially to printers and booksellers, who were often Puritans. In 1561 the spire was destroyed by lightning, an event that was taken by both Protestants and Roman Catholics as a sign of God's displeasure at each other.[citation needed]

text: In the 1630s a west front was added to the building by England's first classical architect, Inigo Jones. There was much defacing and mistreatment of the building by Parliamentarian forces during the Civil War, and the old documents and charters were dispersed and destroyed.[12][page needed] During the Commonwealth, those churchyard buildings that were razed supplied ready-dressed building material for construction projects, such as the Lord Protector's city palace, Somerset House. Crowds were drawn to the north-east corner of the churchyard, St Paul's Cross, where open-air preaching took place.[citation needed]

text: In the Great Fire of London of 1666, Old St Paul's was gutted.[13] While it might have been possible to reconstruct it, a decision was taken to build a new cathedral in a modern style. This course of action had been proposed even before the fire.

text: Present St Paul's[edit]

text: The task of designing a replacement structure was officially assigned to Sir Christopher Wren on 30 July 1669.[14] He had previously been put in charge of the rebuilding of churches to replace those lost in the Great Fire. More than 50 City churches are attributable to Wren. Concurrent with designing St Paul's, Wren was engaged in the production of his five Tracts on Architecture.[15][page needed]

text: Wren had begun advising on the repair of the Old St Paul's in 1661, five years before the fire in 1666.[16] The proposed work included renovations to interior and exterior to complement the classical facade designed by Inigo Jones in 1630.[17] Wren planned to replace the dilapidated tower with a dome, using the existing structure as a scaffold. He produced a drawing of the proposed dome which shows his idea that it should span nave and aisles at the crossing.[18] After the Fire, it was at first thought possible to retain a substantial part of the old cathedral, but ultimately the entire structure was demolished in the early 1670s.

text: In July 1668 Dean William Sancroft wrote to Wren that he was charged by the Archbishop of Canterbury, in agreement with the Bishops of London and Oxford, to design a new cathedral that was "handsome and noble to all the ends of it and to the reputation of the City and the nation".[19] The design process took several years, but a design was finally settled and attached to a royal warrant, with the proviso that Wren was permitted to make any further changes that he deemed necessary. The result was the present St Paul's Cathedral, still the second largest church in Britain, with a dome proclaimed as the finest in the world.[20] The building was financed by a tax on coal, and was completed within its architect's lifetime with many of the major contractors engaged for the duration.

text: The "topping out" of the cathedral (when the final stone was placed on the lantern) took place on 26 October 1708, performed by Wren's son Christopher Jr and the son of one of the masons.[21] The cathedral was declared officially complete by Parliament on 25 December 1711 (Christmas Day).[22] In fact, construction continued for several years after that, with the statues on the roof added in the 1720s. In 1716 the total costs amounted to £1,095,556[23] (£150 million in 2016).[24]

text: Consecration[edit]

text: On 2 December 1697, only 32 years and 3 months after the Great Fire destroyed 'Old St Paul's', the new cathedral was consecrated for use. The Right Reverend Henry Compton, Bishop of London, preached the sermon. It was based on the text of Psalm 122, "I was glad when they said unto me: Let us go into the house of the Lord." The first regular service was held on the following Sunday.

text: Opinions of Wren's cathedral differed, with some loving it: "Without, within, below, above, the eye / Is filled with unrestrained delight",[25][page needed] while others hated it: "...There was an air of Popery about the gilded capitals, the heavy arches...They were unfamiliar, un-English...".[26]

text: Since 1900[edit]

text: War damage[edit]

text: The cathedral survived the Blitz although struck by bombs on 10 October 1940 and 17 April 1941. The first strike destroyed the high altar, while the second strike on the north transept left a hole in the floor above the crypt.[27][28][better source needed] The latter bomb is believed to have detonated in the upper interior above the north transept and the force was sufficient to shift the entire dome laterally by a small amount.[29][30]

text: On 12 September 1940 a time-delayed bomb that had struck the cathedral was successfully defused and removed by a bomb disposal detachment of Royal Engineers under the command of Temporary Lieutenant Robert Davies. Had this bomb detonated, it would have totally destroyed the cathedral; it left a 100-foot (30 m) crater when later remotely detonated in a secure location.[31] As a result of this action, Davies and Sapper George Cameron Wylie were each awarded the George Cross.[32] Davies' George Cross and other medals are on display at the Imperial War Museum, London.

text: One of the best known images of London during the war was a photograph of St Paul's taken on 29 December 1940 during the "Second Great Fire of London" by photographer Herbert Mason, from the roof of a building in Tudor Street showing the cathedral shrouded in smoke. Lisa Jardine of Queen Mary, University of London, has written:[27]

text: Wreathed in billowing smoke, amidst the chaos and destruction of war, the pale dome stands proud and glorious—indomitable. At the height of that air-raid, Sir Winston Churchill telephoned the Guildhall to insist that all fire-fighting resources be directed at St Paul's. The cathedral must be saved, he said, damage to the fabric would sap the morale of the country.

text: Restoration[edit]

text: Extensive copper, lead and slate renovation work was carried out on the Dome in 1996 by John B. Chambers. A 15-year restoration project—one of the largest ever undertaken in the UK—was completed on 15 June 2011.[33]

text: Occupy London[edit]

text: In October 2011 an anti-capitalism Occupy London encampment was established in front of the cathedral, after failing to gain access to the London Stock Exchange at Paternoster Square nearby. The cathedral's finances were affected by the ensuing closure. It was claimed that the cathedral was losing revenue of £20,000 per day.[34] Canon Chancellor Giles Fraser resigned, asserting his view that "evicting the anti-capitalist activists would constitute violence in the name of the Church".[35] The Dean of St Paul's, the Right Revd Graeme Knowles, then resigned too.[36] The encampment was evicted at the end of February 2012, by court order and without violence, as a result of legal action by the City Corporation.[37]

text: Ministry and functions[edit]

text: St Paul's Cathedral is a busy church with four or five services every day, including Matins, Eucharist and Evening Prayer or Choral Evensong[38] In addition, the cathedral has many special services associated with the City of London, its corporation, guilds and institutions. The cathedral, as the largest church in London, also has a role in many state functions such as the service celebrating the Diamond Jubilee of Queen Elizabeth II. The cathedral is generally open daily to tourists and has a regular programme of organ recitals and other performances.[39] The Bishop-designate of London is Sarah Mullally, whose appointment was announced in December 2017.

text: Dean and chapter[edit]

text: The cathedral chapter is currently composed of eight individuals: the dean, four residentiary canons, one ordained additional member of chapter and canon non-residentiary, and two lay canons. Each has a different responsibility in the running of the cathedral.[40] As of 6 January 2018:

text:
Dean — David Ison (since 25 May 2012)[41]
Chancellor — Mark Oakley (Canon since June 2010; Chancellor since 11 January 2013). Previously Canon Treasurer, Oakley is in charge of the cathedral's educational outreach to schools and the public.[42]
Precentor — Michael Hampel (since 25 March 2011) is responsible for music and liturgy at the cathedral.[43]
Pastor — Tricia Hillas (since November 2013) oversees welfare and training with specific focus on marketing, enterprises, communications, HR and development.[44][45]
Treasurer — Jonathan Brewster (since July 2017) is responsible for finance and for the cathedral building.[46]
Additional member of chapter and canon non-residentiary — Sheila Watson (since January 2017).[47]
Lay canon (finance) — Gavin Ralston (since February 2010) holds particular responsibility for finance. He is also Global Head of Product and international asset manager at Schroder Investment Management.
Lay canon — Pim Baxter[48] (Pamela Jane Baxter; since March 2014). She is also Deputy Director at the National Portrait Gallery, with experience in opera, theatre and the visual arts.

tag: ul

text: Registrar[edit]

text: The Registrar, Emma Davies (September 2015), is the cathedral's principal administrator and lay officer, and assists the cathedral chapter in its work, overseeing more than 150 full-time staff, together with volunteers.[49] She is a solicitor and was a senior civil servant prior to her appointment.[50][51]

text: Minor Canons and Priest Vicar[edit]

text: There are three full-time clergy working at St Paul's who are part of its ministry and mission team, but are not members of the cathedral chapter. Two are Minor Canons with particular areas of specialist responsibility, including ceremony, music, liturgy and daily services.

text:
Succentor: Rosemary Morton (since December 2014)
Sacrist: James Milne (since February 2015).

text: The Chaplain is responsible for the pastoral care of the cathedral, under the oversight of the Canon Pastor. The role of Chaplain is no longer that of a Minor Canon but is in the newly established category of Priest Vicar.[52][53][54]

text: Chaplain: Helen O'Sullivan (since November 2015)[55][56]

text: Director of Music[edit]

text: The Director of Music is Andrew Carwood.[57] Carwood was appointed to succeed Malcolm Archer as Director of Music, taking up the post in September 2007.[58] He is the first non-organist to hold the post since the 12th century.

text: Organ[edit]

text: The organ was commissioned from Bernard Smith in 1694. Lang 1956, p. 171 The current instrument is the third-largest [57] in Great Britain in terms of number of pipes (7,189), with 5 manuals, 189 ranks of pipes and 138 stops, enclosed in an impressive case designed in Wren's workshop and decorated by Grinling Gibbons.[59]

text: Details of the organ from the National Pipe Organ Register

text: Choir[edit]

text: St Paul's Cathedral has a choir, largely of men and boys, which sings regularly at services. The earliest records of the choir date from 1127. The present choir consist of up to 30 boy choristers, eight probationers and the Vicars Choral, 12 professional singers, historically men. In February 2017 the cathedral announced the appointment of the first female Vicar Choral, Carris Jones (a mezzo-soprano), to take up the role in September 2017.[60][61][62]

text: During school terms the choir sings at Evensong five times per week, the service on Mondays being sung by a visiting choir (or occasionally said) and that on Thursdays being sung by the Vicars Choral without the boys. On Sundays the choir also sings at Matins and Eucharist.[57]

text: Many distinguished musicians have been organists, choir masters and choristers at St Paul's Cathedral, including the composers John Redford, Thomas Morley, John Blow, Jeremiah Clarke, Maurice Greene and John Stainer, while well known performers have included Alfred Deller, John Shirley-Quirk and Anthony Way as well as the conductors Charles Groves and Paul Hillier and the poet Walter de la Mare.

text: Wren's cathedral[edit]

text: Development of the design[edit]

text:
"Sir Christopher Wren
Said, "I am going to dine with some men.
If anyone calls,
Say I'm designing Saint Paul's."

A clerihew by Edmund Clerihew Bentley

tag: div

text: In designing St Paul's, Christopher Wren had to meet many challenges. He had to create a fitting cathedral to replace Old St Paul's, as a place of worship and as a landmark within the City of London. He had to satisfy the requirements of the church and the tastes of a royal patron, as well as respecting the essentially mediaeval tradition of English church building which developed to accommodate the liturgy. Wren was familiar with contemporary Renaissance and Baroque trends in Italian architecture and had visited France, where he studied the work of François Mansart.

text: Wren's design developed through five general stages. The first survives only as a single drawing and part of a model. The scheme (usually called the First Model Design) appears to have consisted of a circular domed vestibule (possibly based on the Pantheon in Rome) and a rectangular church of basilica form. The plan may have been influenced by the Temple Church. It was rejected because it was not thought "stately enough"[63] Wren's second design was a Greek cross, which was thought by the clerics not to fulfil the requirements of Anglican liturgy.[64]

text: Wren's third design is embodied in the "Great Model" of 1673. The model, made of oak and plaster, cost over £500 (approximately £32,000 today) and is over 13 feet (4 m) tall and 21 feet (6 m) long.[65] This design retained the form of the Greek Cross design but extended it with a nave. His critics, members of a committee commissioned to rebuild the church, and clergy, decried the design as too dissimilar to other English churches to suggest any continuity within the Church of England. Another problem was that the entire design would have to be completed all at once because of the eight central piers that supported the dome, instead of being completed in stages and opened for use before construction finished, as was customary. The Great Model was Wren's favourite design; he thought it a reflection of Renaissance beauty.[66] After the Great Model, Wren resolved not to make further models and not publicly to expose his drawings, which he found to do nothing but "lose time, and subject [his] business many times, to incompetent judges".[64] The Great Model survives and is housed within the Cathedral itself.

text: Wren's fourth design is known as the Warrant design because it received a Royal warrant for the rebuilding. In this design Wren sought to reconcile Gothic, the predominant style of English churches, to a "better manner of architecture." It has the longitudinal Latin Cross plan of a mediaeval cathedral. It is of one and a half storeys and has classical porticos at the west and transept ends, influenced by Inigo Jones’s addition to Old St Paul's.[64] It is roofed at the crossing by a wide shallow dome supporting a drum with a second cupola from which rises a spire of seven diminishing stages. Vaughan Hart has suggested that influence may have been drawn from the oriental pagoda in the design of the spire. Not used at St Paul's, the concept was applied in the spire of St Bride's, Fleet Street.[15][page needed] This plan was rotated slightly on its site so that it aligned not with true east, but with sunrise on Easter of the year construction began. This small change in configuration was informed by Wren's knowledge of astronomy.[17]

text: Final design[edit]

text: The final design as built differs substantially from the official Warrant design. [67][page needed] Wren received permission from the king to make "ornamental changes" to the submitted design, and Wren took great advantage of this. Many of these changes were made over the course of the thirty years as the church was constructed, and the most significant was to the dome: "He raised another structure over the first cupola, a cone of brick, so as to support a stone lantern of an elegant figure... And he covered and hid out of sight the brick cone with another cupola of timber and lead; and between this and the cone are easy stairs that ascend to the lantern" (Christopher Wren, son of Sir Christopher Wren). The final design was strongly rooted in St. Peter's Basilica in Rome. The saucer domes over the nave were inspired by François Mansart's Church of the Val-de-Grâce, which Wren had seen during a trip to Paris in 1665.[66]

text: The date of the laying of the first stone of the cathedral is disputed. One contemporary account says it was on 21 June 1675, another on 25 June and a third on 28 June. There is, however, general agreement that it was laid in June 1675. Edward Strong later claimed it was laid by his elder brother, Thomas Strong, one of the two master stonemasons appointed by Wren at the beginning of the work.[68]

text: Structural engineering[edit]

text: Wren's challenge was to construct a large cathedral on the relatively weak clay soil of London. St Paul's is unusual among cathedrals in that there is a crypt, the largest in Europe, under the entire building rather than just under the eastern end.[69] The crypt serves a structural purpose. Although it is extensive, half the space of the crypt is taken up by massive piers which spread the weight of the much slimmer piers of the church above. While the towers and domes of most cathedrals are supported on four piers, Wren designed the dome of St Paul's to be supported on eight, achieving a broader distribution of weight at the level of the foundations.[70] The foundations settled as the building progressed, and Wren made structural changes in response.[71]

text: One of the design problems that confronted Wren was to create a landmark dome, tall enough to visually replace the lost tower of St Paul's, while at the same time appearing visually satisfying when viewed from inside the building. Wren planned a double-shelled dome, as at St Peter's Basilica.[72] His solution to the visual problem was to separate the heights of the inner and outer dome to a much greater extent than had been done by Michelangelo at St Peter's, drafting both as catenary curves, rather than as hemispheres. Between the inner and outer domes, Wren inserted a brick cone which supports both the timbers of the outer, lead covered dome and the weight of the ornate stone lantern that rises above it. Both the cone and the inner dome are 18 inches thick and are supported by wrought iron chains at intervals in the brick cone and around the cornice of the peristyle of the inner dome to prevent spreading and cracking.[70][73]

text: The Warrant Design showed external buttresses on the ground floor level.These were not a classical feature and were one of the first elements Wren changed. Instead he made the walls of the cathedral particularly thick to avoid the need for external buttresses altogether. The clerestorey and vault are reinforced with flying buttresses, which were added at a relatively late stage in the design to give extra strength.[74] These are concealed behind the screen wall of the upper storey which was added to keep the building's classical style intact, to add sufficient visual mass to balance the appearance of the dome and which, by its weight, counters the thrust of the buttresses on the lower walls.[70][72]

text: Designers, builders and craftsmen[edit]

text: During the extensive period of design and rationalisation Wren employed from 1684 Nicholas Hawksmoor as his principal assistant.[15][page needed] Between 1696 and 1711 William Dickinson was measuring clerk.[75] Joshua Marshall (until his early death in 1678) and Thomas and his brother Edward Strong were master masons, the latter two working on the construction for its entirety. John Langland was the master carpenter for over thirty years.[59] Grinling Gibbons was the chief sculptor, working in both stone on the building itself, including the pediment of the north portal, and wood on the internal fittings.[59] The sculptor Caius Gabriel Cibber created the pediment of the south transept[76] while Francis Bird was responsible for the relief in the west pediment depicting the Conversion of St Paul, as well as the seven large statues on the west front.[77] The floor was paved by William Dickinson in black and white marble in 1709–10[78] Jean Tijou was responsible for the decorative wrought ironwork of gates and balustrades.[59] The ball and cross on the dome were provided by an armorer, Andrew Niblett.[79]

text: Description[edit]

text: St Paul's Cathedral is built in a restrained Baroque style which represents Wren's rationalisation of the traditions of English medieval cathedrals with the inspiration of Palladio, the classical style of Inigo Jones, the baroque style of 17th century Rome, and the buildings by Mansart and others that he had seen in France.[2][page needed] It is particularly in its plan that St Paul's reveals medieval influences.[70] Like the great medieval cathedrals of York and Winchester, St Paul's is comparatively long for its width, and has strongly projecting transepts. It has much emphasis on its facade, which has been designed to define rather than conceal the form of the building behind it. In plan, the towers jut beyond the width of the aisles as they do at Wells Cathedral. Wren's uncle Matthew Wren was the Bishop of Ely, and through having worked for his uncle Wren was familiar with the unique octagonal lantern tower over the crossing of the Cathedral in Ely which spans the aisles as well as the central nave, unlike the central towers and domes of most churches. Wren adapted this characteristic in designing the dome of St Paul's.[70] In section St Paul's also maintains a medieval form, having the aisles much lower than the nave, and a defined clerestory.

text: Exterior[edit]

text: The most notable exterior feature is the dome, which rises 365 feet (111 m) to the cross at its summit,[80] and dominates views of the City. The height of 365 feet is explained by Wren's interest in astronomy. Until the late 20th century St Paul's was the tallest building on the City skyline, designed to be seen surrounded by the delicate spires of Wren's other city churches. The dome is described by Sir Banister Fletcher as "probably the finest in Europe", by Helen Gardner as "majestic", and by Sir Nikolaus Pevsner as "one of the most perfect in the world". Sir John Summerson said that Englishmen and "even some foreigners" consider it to be without equal.[81]

text: Dome[edit]

text: Wren drew inspiration from Michelangelo's dome of St Peter's Basilica, and that of Mansart's Church of the Val-de-Grâce, which he had visited.[82] Unlike those of St Peter's and Val-de-Grâce, the dome of St Paul's rises in two clearly defined storeys of masonry, which, together with a lower unadorned footing, equal a height of about 95 feet. From the time of the Greek Cross Design it is clear that Wren favoured a continuous colonnade (peristyle) around the drum of the dome, rather than the arrangement of alternating windows and projecting columns that Michelangelo had used and which had also been employed by Mansart.[83] Summerson suggests that he was influenced by Bramante's "Tempietto" in the courtyard of San Pietro in Montorio.[84] In the finished structure, Wren creates a diversity and appearance of strength by placing niches between the columns in every fourth opening.[84] The peristyle serves to buttress both the inner dome and the brick cone which rises internally to support the lantern.

text: Above the peristyle rises the second stage surrounded by a balustraded balcony called the "Stone Gallery". This attic stage is ornamented with alternating pilasters and rectangular windows which are set just below the cornice, creating a sense of lightness. Above this attic rises the dome, covered with lead, and ribbed in accordance with the spacing of the pilasters. It is pierced by eight light wells just below the lantern, but these are barely visible. They allow light to penetrate through openings in the brick cone, which illuminates the interior apex of this shell, partly visible from within the cathedral through the ocular opening of the lower dome.[70]

text: The lantern, like the visible masonry of the dome, rises in stages. The most unusual characteristic of this structure is that it is of square plan, rather than circular or octagonal. The tallest stage takes the form of a tempietto with four columned porticos facing the cardinal points. Its lowest level is surrounded by the "Golden Gallery" and its upper level supports a small dome from which rises a cross on a golden ball. The total weight of the lantern is about 850 tons.[20]

text: West front[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. (October 2017) (Learn how and when to remove this template message)

text: For the Renaissance architect designing the west front of a large church or cathedral, the universal problem was how to use a facade to unite the high central nave with the lower aisles in a visually harmonious whole. Since Alberti's additions to Santa Maria Novella in Florence, this was usually achieved by the simple expedient of linking the sides to the centre with large brackets. This is the solution that Wren saw employed by Mansart at Val-de-Grâce. Another feature employed by Mansart was a boldly projecting Classical portico with paired columns. Wren faced the additional challenge of incorporating towers into the design, as had been planned at St Peter's Basilica. At St Peter's, Carlo Maderno had solved this problem by constructing a narthex and stretching a huge screen facade across it, differentiated at the centre by a pediment. The towers at St Peter's were not built above the parapet.

text: Wren's solution was to employ a Classical portico, as at Val-de-Grâce, but rising through two storeys, and supported on paired columns. The remarkable feature here is that the lower storey of this portico extends to the full width of the aisles, while the upper section defines the nave that lies behind it. The gaps between the upper stage of the portico and the towers on either side are bridged by a narrow section of wall with an arch-topped window.

text: The towers stand outside the width of the aisles, but screen two chapels located immediately behind them. The lower parts of the towers continue the theme of the outer walls, but are differentiated from them in order to create an appearance of strength. The windows of the lower storey are smaller than those of the side walls and are deeply recessed, a visual indication of the thickness of the wall. The paired pilasters at each corner project boldly.

text: Above the main cornice, which unites the towers with the portico and the outer walls, the details are boldly scaled, in order to read well from the street below and from a distance. The towers rise above the cornice from a square block plinth which is plain apart from large oculi, that on the south being filled by the clock, while that on the north is void. The towers are composed of two complementary elements, a central cylinder rising through the tiers in a series of stacked drums, and paired Corinthian columns at the corners, with buttresses above them, which serve to unify the drum shape with the square plinth on which it stands. The entablature above the columns breaks forward over them to express both elements, tying them together in a single horizontal band. The cap, an ogee-shaped dome, supports a gilded pineapple-shaped finial.[85]

text: The transepts each have a semi-circular entrance portico. Wren was inspired in the design by studying engravings of Pietro da Cortona's Baroque facade of Santa Maria della Pace in Rome.[86][page needed] These projecting arcs echo the shape of the apse at the eastern end of the building.

text: Walls[edit]

text: The building is of two storeys of ashlar masonry, above a basement, and surrounded by a balustrade above the upper cornice. The balustrade was added, against Wren's wishes, in 1718.[86][page needed] The internal bays are marked externally by paired pilasters with Corinthian capitals at the lower level and Composite at the upper level. Where the building behind is of only one storey (at the aisles of both nave and choir) the upper storey of the exterior wall is sham.[20] It serves a dual purpose of supporting the buttresses of the vault, and providing a satisfying appearance when viewed rising above buildings of the height of the 17th century city. This appearance may still be seen from across the River Thames.

text: Between the pilasters on both levels are windows. Those of the lower storey have semi-circular heads and are surrounded by continuous mouldings of a Roman style, rising to decorative keystones. Beneath each window is a floral swag by Grinling Gibbons, constituting the finest stone carving on the building and some of the greatest architectural sculpture in England. A frieze with similar swags runs in a band below the cornice, tying the arches of the windows and the capitals. The upper windows are of a restrained Classical form, with pediments set on columns, but are blind and contain niches. Beneath these niches, and in the basement level, are small windows with segmental tops, the glazing of which catches the light and visually links them to the large windows of the aisles. The height from ground level to the top of the parapet is approximately 110 feet.

text: Interior[edit]

text: Internally, St Paul's has a nave and choir in each of its three bays. The entrance from the west portico is through a square domed narthex, flanked by chapels: the Chapel of St Dunstan to the north and the Chapel of the Order of St Michael and St George to the south.[70] The nave is 91 feet (28 m) in height and is separated from the aisles by an arcade of piers with attached Corinthian pilasters rising to an entablature. The bays, and therefore the vault compartments, are rectangular, but Wren roofed these spaces with saucer-shaped domes and surrounded the clerestory windows with lunettes.[70] The vaults of the choir are decorated with mosaics by Sir William Blake Richmond.[70] The dome and the apse of the choir are all approached through wide arches with coffered vaults which contrast with the smooth surface of the domes and punctuate the division between the main spaces. The transepts extend to the north and south of the dome and are called (in this instance) the North Choir and the South Choir.

text: The choir holds the stalls for the clergy, cathedral officers and the choir, and the organ. These wooden fittings, including the pulpit and Bishop's throne, were designed in Wren's office and built by joiners. The carvings are the work of Grinling Gibbons whom Summerson describes as having "astonishing facility", suggesting that Gibbons aim was to reproduce popular Dutch flower painting in wood.[59] Jean Tijou, a French metalworker, provided various wrought iron and gilt grilles, gates and balustrades of elaborate design, of which many pieces have now been combined into the gates near the sanctuary.[59]

text: The cathedral is some 574 feet (175 m) in length (including the portico of the Great West Door), of which 223 feet (68 m) is the nave and 167 feet (51 m) is the choir. The width of the nave is 121 feet (37 m) and across the transepts is 246 feet (75 m).[87] The cathedral is slightly shorter but somewhat wider than Old St Paul's.

text: Dome[edit]

text: The main internal space of the cathedral is that under the central dome which extends the full width of the nave and aisles. The dome is supported on pendentives rising between eight arches spanning the nave, choir, transepts, and aisles. The eight piers that carry them are not evenly spaced. Wren has maintained an appearance of eight equal spans by inserting segmental arches to carry galleries across the ends of the aisles, and has extended the mouldings of the upper arch to appear equal to the wider arches.[72]

text: Above the keystones of the arches, at 99 feet (30 m) above the floor and 112 feet (34 m) wide, runs a cornice which supports the Whispering Gallery so called because of its acoustic properties: a whisper or low murmur against its wall at any point is audible to a listener with an ear held to the wall at any other point around the gallery. It is reached by 259 steps from ground level.

text: The dome is raised on a tall drum surrounded by pilasters and pierced with windows in groups of three, separated by eight gilded niches containing statues, and repeating the pattern of the peristyle on the exterior. the dome rises above a gilded cornice at 173 feet (53 m) to a height of 214 feet (65 m). Its painted decoration by Sir James Thornhill shows eight scenes from the life of St Paul set in illusionistic architecture which continues the forms of the eight niches of the drum.[88] At the apex of the dome is an oculus inspired by that of the Pantheon in Rome. Through this hole can be seen the decorated inner surface of the cone which supports the lantern. This upper space is lit by the light wells in the outer dome and openings in the brick cone. Engravings of Thornhill's paintings were published in 1720.[89]

text: Apse[edit]

text: The eastern apse extends the width of the choir and is the full height of the main arches across choir and nave. It is decorated with mosaics, in keeping with the choir vaults. The original reredos and high altar were destroyed by bombing in 1940. The present high altar and baldacchino are the work of W. Godfrey Allen and Stephen Dykes Bower.[69] The apse was dedicated in 1958 as the American Memorial Chapel.[90] It was paid for entirely by donations from British people.[91] The Roll of Honour contains the names of more than 28,000 Americans who gave their lives while on their way to, or stationed in, the United Kingdom during the Second World War.[92] It is in front of the chapel's altar. The three windows of the apse date from 1960 and depict themes of service and sacrifice, while the insignia around the edges represent the American states and the US armed forces. The limewood panelling incorporates a rocket—a tribute to America's achievements in space.[93]

text: Artworks, tombs and memorials[edit]

text: St Paul's at the time of its completion, was adorned by sculpture in stone and wood, most notably that of Grinling Gibbons, by the paintings in the dome by Thornhill, and by Jean Tijou's elaborate metalwork. It has been further enhanced by Sir William Richmond's mosaics and the fittings by Dykes Bower and Godfrey Allen.[69] Other artworks in the cathedral include, in the south aisle, William Holman Hunt's copy of his painting The Light of the World, the original of which hangs in Keble College, Oxford. The St. Paul's version was completed with a significant input from Edward Robert Hughes as Hunt was now suffering from glaucoma. In the north choir aisle is a limestone sculpture of the Madonna and Child by Henry Moore, carved in 1943.[69] The crypt contains over 200 memorials and numerous burials. Christopher Wren was the first person to be interred, in 1723. On the wall above his tomb in the crypt is written in Latin: Lector, si monumentum requiris, circumspice ("Reader, if you seek his monument, look around you").

text: The largest monument in the cathedral is that to the Duke of Wellington by Alfred Stevens. It stands on the north side of the nave and has on top a statue of Wellington astride his horse "Copenhagen". Although the equestrian figure was planned at the outset, objections to the notion of having a horse in the church prevented its installation until 1912. The horse and rider are by John Tweed. The Duke is buried in the crypt.[69]

text: The tomb of Horatio, Lord Nelson is located in the crypt, next to that of Wellington.[94] The marble sarcophagus which holds his remains was made for Cardinal Wolsey but not used as the cardinal had fallen from favour.[95][69] At the eastern end of the crypt is the Chapel of the Order of the British Empire, instigated in 1917, and designed by John Seely, Lord Mottistone.[69] There are many other memorials commemorating the British military, including several lists of servicemen who died in action, the most recent being the Gulf War.

text: Also remembered are Florence Nightingale, J. M. W. Turner, Arthur Sullivan, Hubert Parry, Samuel Johnson, Lawrence of Arabia, William Blake and Sir Alexander Fleming as well as clergy and residents of the local parish. There are lists of the Bishops and cathedral Deans for the last thousand years. One of the most remarkable sculptures is that of the Dean and poet, John Donne. Before his death, Donne posed for his own memorial statue and was depicted by Nicholas Stone as wrapped in a burial shroud, and standing on a funeral urn. The sculpture, carved around 1630, is the only one to have survived the conflagration of 1666 intact.[69] The treasury is also in the crypt but the cathedral has very few treasures as many have been lost, and on 22 December 1810 a major robbery took almost all of the remaining precious artefacts.[96]

text: The funerals of many notable figures have occurred at the cathedral, including those of Lord Nelson, the Duke of Wellington, Winston Churchill, George Mallory and Margaret Thatcher.[97]

text: Clock and bells[edit]

text: A clock was installed in the south-west tower by Langley Bradley in 1709 but was worn out by the end of the 19th century.[98] The present mechanism was built in 1893 by Smith of Derby incorporating a design of escapement by Edmund Denison Beckett similar to that used by Edward Dent on Big Ben's mechanism in 1895. The clock mechanism is 19 feet (5.8 m) long and is the most recent of the clocks introduced to St Paul's Cathedral over the centuries. Since 1969 the clock has been electrically wound with equipment designed and installed by Smith of Derby, relieving the clock custodian from the work of cranking up the heavy drive weights.

text: The southwest tower also contains four bells, of which Great Paul, cast in 1881 by Taylor's bell foundry of Loughborough, at 16 1⁄2 long tons (16,800 kg) was the largest bell in the British Isles until the casting of the Olympic Bell for the 2012 London Olympics.[99] This bell has traditionally sounded at 1 pm each day. Great Paul has not been rung for several years because of a broken chiming mechanism.[100] The clock bells included Great Tom, which was moved from St Stephen's Chapel at the Palace of Westminster and has been recast several times, the last time by Richard Phelps. It chimes the hour and is traditionally tolled on occasions of a death in the royal family, the Bishop of London, or the Lord Mayor of London, although an exception was made at the death of the US president James Garfield.[101] It was last tolled for the death of Queen Elizabeth, the Queen Mother, in 2002.[99] In 1717, Richard Phelps cast two more bells that were added as "quarter jacks" that ring on the quarter hour. Still in use today, the first weighs 13 long cwt (1,500 lb; 660 kg), is 41 inches (100 cm) in diameter and is tuned to A♭; the second weighs 35 long cwt (3,900 lb; 1,800 kg) and is 58 inches (150 cm) in diameter and is tuned to E♭.

text: The northwest tower contains a ring of 12 bells by John Taylor & Co of Loughborough hung for change ringing, although they have been sent for refurbishment, and will return in November 2018. The original service or "Communion" bell dating from 1700 and known as "the Banger" which is rung before 8 am services.[99]

text:
Details of the bells

Bell
Weight
Nominal
Hz
Note
Diameter
Date
cast
Founder

long measure
lb
kg
in
cm

1
8 long cwt 1 qr  4 lb
928
421
1,461.0
F
30.88
78.4
1878
John Taylor & Co

2
9 long cwt 0 qr 20 lb
1,028
466
1,270.0
E♭
32.50
82.6
1878
John Taylor & Co

3
9 long cwt 3 qr 12 lb
1,104
501
1,199.0
D
34.00
86.4
1878
John Taylor & Co

4
11 long cwt 2 qr 22 lb
1,310
594
1,063.0
C
36.38
92.4
1878
John Taylor & Co

5
13 long cwt 1 qr  0 lb
1,484
673
954.0
B♭
38.63
98.1
1878
John Taylor & Co

6
13 long cwt 2 qr 14 lb
1,526
692
884.0
A
39.63
100.7
1878
John Taylor & Co

7
16 long cwt 1 qr 18 lb
1,838
834
784.0
G
43.75
111.1
1878
John Taylor & Co

8
21 long cwt 3 qr 18 lb
2,454
1,113
705.0
F
47.63
121.0
1878
John Taylor & Co

9
27 long cwt 1 qr 22 lb
3,074
1,394
636.0
E♭
52.50
133.4
1878
John Taylor & Co

10
29 long cwt 3 qr 21 lb
3,353
1,521
592.0
D
55.25
140.3
1878
John Taylor & Co

11
43 long cwt 2 qr  0 lb
4,872
2,210
525.0
C
61.25
155.6
1878
John Taylor & Co

12
61 long cwt 2 qr 12 lb
6,900
3,130
468.0
B♭
69.00
175.3
1878
John Taylor & Co

Clock
12 long cwt 2 qr  9 lb
1,409
639

A♭

1707
Richard Phelps

Clock
24 long cwt 2 qr 26 lb
2,770
1,256

E♭

1707
Richard Phelps

Clock
102 long cwt 1 qr 22 lb
11,474
5,205

A♭
82.88
210.5
1716
Richard Phelps

Bourdon
334 long cwt 2 qr 19 lb
37,483
17,002
317.1
E♭
114.75
291.5
1881
John Taylor & Co

Communion
18 long cwt 2 qr 26 lb
2,098
952

E♭
49.50
125.7
1700
Philip Wightman

text: Education, tourism and the arts[edit]

text: Interpretation Project[edit]

text: The Interpretation Project is a long term project concerned with bringing St Paul's to life for all its visitors. In 2010, the Dean and Chapter of St Paul's opened St Paul's Oculus, a 270° film experience that brings 1400 years of history to life.[102] Located in the former Treasury in the crypt, the film takes visitors on a journey through the history and daily life of St Paul's Cathedral. Oculus was funded by American Express Company in partnership with the World Monuments Fund, J. P . Morgan, the Garfield Weston Trust for St Paul’s Cathedral, the City of London Endowment Trust and AIG.

text: In 2010, new touchscreen multimedia guides were also launched. These guides are included in the price of admission. Visitors can discover the cathedral’s history, architecture and daily life of a busy working church with these new multimedia guides. They are available in 12 different languages: English, French, German, Italian, Spanish, Portuguese, Polish, Russian, Mandarin, Japanese, Korean and British Sign Language (BSL). The guides have fly-through videos of the dome galleries and zoomable close-ups of the ceiling mosaics, painting and photography. Interviews and commentary from experts include the Dean of St Paul’s, conservation team and the Director of Music. Archive film footage includes major services and events from the cathedral's history.

text: Charges for sightseers[edit]

text: St Paul's charges for the admission of those people who are sightseers, rather than worshippers; the charge is £18 (£16 when purchased online).[103] Outside service times, people seeking a quiet place to pray or worship are admitted to St Dunstan's Chapel free of charge. On Sundays people are admitted only for services and concerts and there is no sightseeing. The charge to sightseers is made because St Paul's receives little regular or significant funding from the Crown, the Church of England or the state and relies on the income generated by tourism to allow the building to continue to function as a centre for Christian worship, as well as to cover general maintenance and repair work.[104][unreliable source]

text: St Paul's Cathedral Arts Project[edit]

text: The St Paul’s Cathedral Arts Project explores art and faith. Projects have included installations by Gerry Judah, Antony Gormley, Rebecca Horn, Yoko Ono and Martin Firrell.

text: In 2014, St Paul's commissioned Gerry Judah to create an artwork in the nave to commemorate the 100th anniversary of the beginning of the First World War. Two spectacular sculptures consisting of three-dimensional white cruciforms reflect the meticulously maintained war graves of northern France and further afield. Each sculpture is also embellished with miniaturised destroyed residential blocks depicting war zones in the Middle East—Syria, Baghdad, Afghanistan—thus connecting 100 years of warfare.[105]

text: Bill Viola has created two altarpieces for permanent display in St Paul's Cathedral. The project commenced production in mid-2009. Following the extensive programme of cleaning and repair of the interior of St Paul's, completed in 2005, Viola was commissioned to create two altarpieces on the themes of Mary and Martyrs. These two multi-screen video installations are permanently located at the end of the Quire aisles, flanking the High Altar of the cathedral and the American Memorial Chapel. Each work employs an arrangement of multiple plasma screen panels configured in a manner similar to historic altarpieces.

text: In summer 2010, St Paul's chose two new works by the British artist Mark Alexander to be hung either side of the nave. Both entitled Red Mannheim, Alexander's large red silkscreens are inspired by the Mannheim Cathedral altarpiece (1739–41), which was damaged by bombing in the Second World War. The original sculpture depicts Christ on the cross, surrounded by a familiar retinue of mourners. Rendered in splendid giltwood, with Christ's wracked body sculpted in relief, and the flourishes of flora and incandescent rays from heaven, this masterpiece of the German Rococo is an object of ravishing beauty and intense piety.

text: In March 2010, Flare II, a sculpture by Antony Gormley, was installed in the Geometric Staircase.[106]

text: In 2007, the Dean and Chapter commissioned Martin Firrell to create a major public artwork to mark the 300th anniversary of the topping-out of Wren's building. The Question Mark Inside consisted of digital text projections to the cathedral dome, West Front and inside onto the Whispering Gallery. The text was based on blog contributions by the general public as well as interviews conducted by the artist and on the artist's own views. The project presented a stream of possible answers to the question: 'What makes life meaningful and purposeful, and what does St Paul's mean in that contemporary context?' The Question Mark Inside opened on 8 November 2008 and ran for eight nights.

text: Depictions of St Paul's[edit]

text: St Paul's Cathedral has been depicted many times in paintings, prints and drawings. Among the well-known artists to have painted it are Canaletto, Turner, Daubigny, Pissarro, Signac, Derain, Lloyd Rees,

text:
Paintings and engravings of St Paul's

18th century engraving of St Paul's from the north-west by J. M. Mueller

19th century coloured engraving from the south-west by Thomas Hosmer Shepherd

Romantic 19th century engraving of St Paul's in the evening after rain by Edward Angelo Goodall

Oil painting, John O'Connor, Evening on Ludgate Hill (1887) St Paul's looms beyond St Martin's.

St Paul's from Richmond House by the Venetian painter Canaletto (1747)

St Paul's viewed from a loggia (c. 1748) by Antonio Joli who also worked in Venice.

An Impressionist view of St Paul's from the River by Ernest Dade (before 1936)

St Paul's from Bankside, a watercolour by Frederick E. J. Goff (before 1931)

text: Photography and film[edit]

text: St Paul's Cathedral has been the subject of many photographs, most notably the iconic image of the dome surrounded by smoke during the Blitz.(see above) It has also been used in films and TV programmes (including The Famous Thames Television Ident), either as the focus of the film, as in the episode of Climbing Great Buildings; as a feature of the film, as in Mary Poppins; or as an incidental location such as Wren's Geometric Staircase in the south-west tower which has appeared in several films including Harry Potter and the Prisoner of Azkaban.

text: Films in which St Paul's has been depicted include:

text:
St. Paul's Cathedral (1942), a wartime documentary film for the British Council, the final part of which shows bomb damage in and around St Paul's.[107]
Lawrence of Arabia (1962) shows the exterior of the building and the bust of T.E.Lawrence.
Mary Poppins (1964) shows the steps and west front of the cathedral, the main setting for the song '"Feed the Birds'".
St Paul's Cathedral has appeared as a filming location twice in Doctor Who, in the 1968 serial The Invasion, and in the 2014 two-part story "Dark Water"/"Death in Heaven". In both, the Cybermen are shown descending steps outside the Cathedral.
St Paul's is seen briefly in the Goodies episode "Kitten Kong" (1971). During his rampage through London, Twinkle damages London landmarks, including St Paul's Cathedral, the dome of which is knocked off.
In the BBC educational programme "A Guide to Armageddon," (1982) a 1-megaton nuclear weapon is detonated over London, with St Paul's used as ground zero.
The Madness of King George (1994) shows the Geometric Staircase in the South West Bell Tower.
Harry Potter and the Prisoner of Azkaban (2004) shows the Geometric Staircase in the south west bell tower, representing the staircase towards the Divination classroom.
Industrial Revelations: Best of British Engineering — Buildings, with Rory McGrath series 5, episode 1, 2008, focuses on St Paul's Cathedral.
Sherlock Holmes (2009) shows the North side of the West Steps, and the Geometric Staircase in the South West Bell Tower.
Harry Potter and the Half-Blood Prince (2009); the southern façade was briefly shown.
Climbing Great Buildings (2010)
Star Trek Into Darkness (2013) depicts St Paul's in 23rd century London along with other notable modern-day London buildings.[b]
Thor: The Dark World (2013) depicts St Paul's as one of several London landmarks that Thor and his enemy, Malekith, fight over during an attack on the city.
London Has Fallen (2016) depicts the cathedral as the scheduled site of the British Prime Minister's funeral.

text:
St Paul's in photography and film

An airship, Nulli Secundus, circling St Paul's on a flight from Farnborough to London (1907)

A member of the Royal Observer Corps on watch during the Battle of Britain (1940)

The geometric staircase appears in several films including Sherlock Holmes (2009)


document_title: Angel (Buffy the Vampire Slayer)

question_text: when does angel leave buffy the vampire slayer

root

text: Angel (Buffy the Vampire Slayer)

text: Appearances[edit]

text: Buffy the Vampire Slayer[edit]

text: Angel's first appearance is in "Welcome to the Hellmouth", the first episode of Buffy the Vampire Slayer in 1997. In it, he meets the protagonist Buffy Summers (Sarah Michelle Gellar), a young girl destined to fight evil in the small town of Sunnydale, California. For the first half of the season, Angel is an enigmatic love interest for Buffy, showing up only to offer her cryptic messages about upcoming threats. It isn't until the episode "Angel" that the character is revealed to be a benevolent vampire from Galway, Ireland, who immigrated to the United States to escape his past as the sadistic Angelus after his soul is restored by a vengeful gypsy clan. Although uneasy about trusting a vampire, Buffy and the Scooby Gang eventually come to view Angel as an ally. In the second season (1997–1998), Buffy and Angel's romantic relationship develops and the pair have sex in the episode "Surprise". For experiencing a moment of pure happiness, however, the gypsy curse on Angel is revoked, unleashing his soulless alter-ego, who reunites with his old friends, vampires Spike (James Marsters) and Drusilla (Juliet Landau), and begins terrorizing Buffy and her friends. Upon discovering gypsy descendent Jenny Calendar (Robia LaMorte), who is working to translate the text of a spell to restore Angel's soul, Angelus murders her by breaking her neck, and places her body in the bed of her boyfriend, Giles (Anthony Head), for him to discover. Angelus then attempts to destroy the world by awakening the demon Acathla. In the season finale, neophyte witch Willow (Alyson Hannigan) manages to restore Angel's soul at the last moment, but Buffy is forced to kill him to save the world from Acathla, and Angel is sent to hell. In season three (1998–1999), episode three, "Faith, Hope & Trick", Angel is inexplicably returned from hell by an unknown party. The Scooby Gang are outraged when they discover that Buffy has been secretly caring for him since his resurrection, but grudgingly accept him after he saves Willow's life in episode seven, "Revelations". In the episode "Amends", the primordial First Evil attempts to manipulate Angel to murder Buffy, but Angel chooses suicide instead by waiting for the sun to rise on Christmas morning. California's heatwave is interrupted by a freak snowstorm, sparing Angel's life, which he takes as a sign from above. Buffy and Angel initially attempt to be friends but eventually resume a celibate romantic relationship. However, Angel becomes more aware of their limitations as a couple and breaks up with her in the hopes that she will be happier without him, leaving Sunnydale altogether after attending Buffy's prom and helping her in the battle against Mayor Wilkins (Harry Groener).

tag: p

text: Angel[edit]

text: After his departure from Buffy, Angel appeared in his own spin-off series, titled Angel. Moving to Los Angeles, he starts a supernatural detective agency called Angel Investigations. He dedicates himself to "helping the helpless," and becomes a Champion of The Powers That Be, who send him psychic visions through his employees Doyle (Glenn Quinn), and later Cordelia (Charisma Carpenter). In doing so, he frequently clashes with the powerful law firm Wolfram & Hart, who represent the evil of the world. During this season (1999–2000), Buffy and Angel appear in each other's shows (the Buffy episode "Pangs" and the Angel episode "I Will Remember You"), but are forced to accept that nothing has changed and they still can't or shouldn't be together. Later in the television season, Buffy crosses over into the episode "Sanctuary" where she attempts to kill rogue Slayer Faith (Eliza Dushku) to whom Angel shows compassion, and Angel appears in Buffy's "The Yoko Factor" where he squares off with Buffy's new boyfriend Riley (Marc Blucas). In the season one finale, Angel is given some hope at redemption when the Shanshu prophecy reveals that a vampire with a soul may eventually become human after fulfilling his role in the upcoming apocalypse.

text: In season two (2000–2001), Angel discovers that Wolfram & Hart has brought his sire and former lover Darla (Julie Benz) back from the dead in human form. Although Darla is intent on bringing back Angelus, Angel hopes to save her soul and help her seek redemption while she still has a chance. However, just as it looks like he might succeed, Wolfram & Hart bring in Drusilla to turn Darla back into a vampire. Embracing his dark side, Angel fires his employees, Cordelia, Wesley (Alexis Denisof) and Gunn (J. August Richards) (secretly to protect them from this dark territory, as he later revealed to Lorne (Andy Hallett)), and embarks on a vendetta against Wolfram & Hart; Angel allows Darla and Dru to massacre a group of lawyers. Losing faith in his mission, he has sex with Darla in the hopes of losing his soul. Instead, however, he experiences an epiphany and realizes that the good fight is still worth fighting. A disgusted Darla flees L.A. and Angel reconciles with his friends, who eventually forgive him. Angel also appears in Buffy season five's "Forever", comforting Buffy after her mother's death.

text: Season three (2001–2002) sees Angel struggle with fatherhood when Darla returns pregnant with his child, despite the fact that vampires supposedly are unable to conceive. When Darla kills herself to give birth, Angel is left to raise the baby Connor (played by triplets Connor, Jake and Trenton Tupen) and protect him from those who wish to get their hands on a child of two vampires. False prophecies, time travel, and betrayal lead to Angel losing his infant son to an old enemy, Holtz (Keith Szarabajka), who abducts Connor into a hell dimension where time passes differently. Connor (Vincent Kartheiser) returns days later, fully grown and under the belief that Angel is a soulless monster. Holtz kills himself and Angel is framed for his death by Holtz's lover, prompting Connor to take revenge by sinking his father to the bottom of the ocean. Over the course of this season, Angel's friendship with his colleague Cordelia evolves into romance, but circumstances prevent him from confessing his feelings.

text: In Angel's fourth season (2002–2003), Angel is rescued from the ocean by his former friend Wesley. As Los Angeles crumbles under the apocalypse, Angel is forced to cope with the romantic relationship between his son and Cordelia. In order to find out more about the Beast (Vladimir Kulich) terrorizing L.A., Angel Investigations remove Angel's soul and bring back Angelus after a vision suggests that Angelus has history with the Beast that Angel does not remember. Angelus, however, manages to escape, killing the Beast and wreaking havoc until an old friend, Willow, manages to return his soul for the second time. It is eventually revealed that Cordelia has been possessed by the Beast's master, Jasmine (Gina Torres), a higher power who puts humanity under her thrall in the hopes of achieving world peace. When Angel restores free will and ruins Jasmine's plan, Wolfram & Hart offer him control of their L.A. branch as a reward for putting a stop to world peace. Angel accepts when they agree to rewrite Connor's memories of growing up in hell, allowing him to live a normal life with a new family. Afterwards, Angel appears in the penultimate and final episodes of Buffy, presenting Buffy with an amulet to help her battle the First Evil.

text: In the final season of Angel (2003–2004), the character has made a deal with the Devil to become CEO of Wolfram & Hart's Los Angeles office. All of his friends have also become W&H employees, hoping to reform the organization from within under Angel's supervision. Angel's life this season is complicated by the increasingly blurred line between good and evil, the deaths of loved ones Cordelia and Fred (Amy Acker), and the possibility that the Shanshu prophecy may in fact be referring to Spike (who is now also a vampire with a soul) and not Angel. Allowing his friends to believe he is being corrupted, Angel secretly plots to bring down the Senior Partners of Wolfram & Hart by assassinating the Circle of the Black Thorn, the Partners' primary agents on Earth, even signing away his prophesied humanity in the process to convince them of his complex deception. Realizing that he may never be able to fully stop the forces of evil, Angel and his friends enter into a suicidal battle against the armies of the Senior Partners, and the series ends with the question of their survival unanswered.

text: Between 2001 and 2004, Joss Whedon and Jeph Loeb developed a 4-minute pilot episode for Buffy the Animated Series, which was set during the show's first season. Had the series been picked up by a network, it would have featured Angel (voiced by David Boreanaz) in more adventures set during Buffy's first season. Following a 2008 leak of the pilot to YouTube, Loeb expressed some hope that the series may be resurrected in some form.[1]

text: Comic books[edit]

text: In 2007, Angel began appearing in two canonical continuations of Buffy the Vampire Slayer and Angel from Joss Whedon. The first of these was Buffy the Vampire Slayer Season Eight, published by Dark Horse Comics, which continued the story of the Buffy television series. Later that year, Whedon and IDW Publishing released the series Angel: After the Fall, which continued on from the series finale of Angel. The two series were published by different publishers due to Dark Horse initially giving up the rights to licensed Angel comic books several years ago when the series was still on air.

text: In Dark Horse's Buffy continuation, Angel initially appears to feature in Buffy's dream sequences (in the comic's third and twentieth issues, as well as in the Dark Horse Presents special Season Eight comic "Always Darkest"), but is later revealed to have been in the series from the beginning.[2] He then features substantially in the remainder of the series. Angel features as the central character in IDW's After the Fall, however, which has no crossover with the events of Buffy. Whedon devised the storyline for After the Fall issues 1-17 with writer Brian Lynch, but did not write for the series himself as with Buffy. Beginning with the eighteenth issue of the series, IDW chose to continue telling Angel stories in an ongoing comic book with rotating writers and artists, although these stories "did not come from Whedon himself".[3][4] In the continued series without Whedon's involvement, Angel engages in episodic adventures, while the series also takes breaks to focus on other characters. Subsequent writers included Bill Willingham.[5] When rights to Angel settings and characters reverted to Dark Horse, IDW promised to end their ongoing Angel series with its forty-fourth issue in 2011, and began negotiating with Dark Horse so that it would bridge continuity with Season Eight and the upcoming Buffy the Vampire Slayer Season Nine.[6] Its final Angel story is the hardcover send-off Angel Yearbook. During its tenure, IDW also published various miniseries depicting Angel and related characters, such as John Byrne's Angel: Blood and Trenches (2009), and several Illyria and Spike stories.

text: In After the Fall, set after the fifth season, Angel and his friends struggle as Los Angeles has been moved to a hell dimension by the Senior Partners who have also turned Angel human as a punishment.[7][8][9] With the help of Wesley's ghost,[7] magical spells to simulate his old abilities,[10] and a friendly dragon (seen in "Not Fade Away") which he names after Cordelia,[11] Angel continues helping the helpless. Angel eventually outsmarts and kills the Demon Lords of Los Angeles to win the city back for its people.[12] Gunn, now a vampire out for revenge against Angel following the fight in the alley,[8] confronts Angel,[13] and brings him to the point of death.[14] Cordelia's spirit comes to convince Angel to keep fighting, in spite of a vision of the "final battle" which sees Angel responsible for countless deaths.[11][15] Wesley also confirms that Angel is still viable for the Shanshu prophecy, because his signed contract was never filed.[11] Angel's body is subsequently taken by the Senior Partners and restored to health while Gunn successfully manages to restore the demon Illyria (introduced in season five) to her true form, hoping she will restore time to before the Fall of Los Angeles only to embark on a destructive rampage instead.[16] Gunn kills Connor,[17] but rather than avenge the death Angel allows Gunn to kill him, forcing the Senior Partners to restore time back to before the Fall, as he is necessary to their plans. Restored to the fight in the alley with memories intact, Angel saves Gunn this time and later is happily reunited with Connor.[18] Angel enjoys celebrity status from the citizens of Los Angeles, and gives Cordelia the dragon over to Groosalugg. As a mark of respect for his friends, he names a wing of the Los Angeles public library after Wesley and Fred; Wesley is no longer a ghost. Angel leaves the human, traumatised Gunn an Angel Investigations card and returns to his duties helping the hopeless.[19]

text: In Season Eight, Twilight appears in the premiere issue, written by Whedon; his shoes are seen floating in the air as he surveys Buffy. At the end of the arc, the military general who coordinated a large-scale attack on Buffy is revealed to be a follower of "Twilight";[20] later issues show that many of the anti-Slayer forces serve under the leadership of a masked person known as Twilight.[21] Buffy herself finally confronts Twilight in "A Beautiful Sunset", along with the Slayer Satsu, but Twilight's superior strength and ability to fly ensures his easy victory.[22] In Jane Espenson's story arc "Retreat", Twilight locates Buffy's allies through their use of magic, forcing them to converge and retreat.[23] In Tibet, Slayers and witches suppress their magic,[24][25] which ultimately leads to a mutually destructive military conflict between the Slayers and Twilight's forces.[22] In its aftermath, however, Buffy mysteriously acquires abilities conspicuously similar to Twilight's.[26][27][28] In the penultimate arc, written by Brad Meltzer, the newly empowered Buffy faces up to her masked enemy again. Twilight reveals himself to be Angel, and claims to have been distracting the various groups that would seek to destroy Buffy while pushing her towards some other end.[29] Buffy and Angel — destiny's agents in discarding the old reality and ushering in a new one — are overcome with desire for one another. They kiss, have sex and fly through space, eventually ascending to a dimension called Twilight. Meanwhile, Giles exposits a prophecy pertaining to the creation of a new universe, brought about by a Slayer falling in love with a vampire.[30] The two come to their senses and return to Earth to fight off the hordes of demons unleashed by their ascension.[31] Espenson's Riley one-shot flashes back to an uneasy Angel, early in his Twilight masquerade, convinced by Whistler (Angel's mentor in flashbacks from Buffy season two) that this course of actions leads to the only possible future in which Buffy survives.[32] The final arc, "Last Gleaming", depicts Angel's first encounter with the higher power which bestowed Twilight's superheroic abilities on him. Spike explains the next step in the prophecy, which concerns the new universe springing from the mystical Seed of Wonder, a source for all the magic in the universe, buried beneath Sunnydale.[33] Although he tries to stop more of the damage caused by the Twilight dimension's coming, the Twilight dimension (the aforementioned higher power) possesses Angel.[34] To protect the seed, a possessed Angel then tries to kill Buffy and Spike, and goes so far as to snap Giles' neck. This prompts Buffy to destroy the Seed. This stops the Twilight dimension from destroying the existing world, and Angel is dispossessed, but the universe is also stripped of all magic.[35]

text: This article needs to be updated. Please update this article to reflect recent events or newly available information. (July 2016)

tag: table

text: Following on from this, Angel headlines the series Angel and Faith, primarily set in London. Its stories aim to be respectful to the storylines featured in IDW's forty-four issue Angel run,[36] and maintains a very tight continuity with Buffy Season Nine and other related comics.[37] In his series, Angel faces the looming threat of his now unstable former mentor Whistler, who helped bring about his transformation into Twilight, as well as his two dangerous former acolytes, half-demons Pearl and Nash, in addition a group of British Slayers who cannot forgive his actions as Twilight. Along with Faith, he lives in Giles' London apartment where they are joined by Giles' ageless aunts, witches Lavinia and Sophronia. Angel intends to honor Giles' memory, and seeks to collect fragments of Giles' soul from magical items as part of a plan to resurrect him. In the series' conclusion, Giles is successfully resurrected, albeit as a young teenage boy, and the gang pursue Whistler, Pearl and Nash to a rooftop, where they plan to unleash a horrific magical plague on the world as an inelegant means to restore magic to the universe. Nash is killed, and Angel is able to persuade Whistler to see the error of his ways, successfully limiting to the extent of the plague to an area of Hackney in London. In the season's denouement, Faith returns to America alongside Giles, while Angel remains behind to guard over the plagued neighborhood, now called Magic Town, where residents—magically mutated into all manner of creature—are already causing problems.

text: A second volume of the series launched alongside Buffy the Vampire Slayer Season Ten in 2014. Angel defends Magic Town against threats such as Amy Madison during Faith's absence, and acquires several new allies: Eldre Koh, an ancient Nitobe demon freed from his prison by the end of magic; Detective Brandt; Rory, a magically-mutated bartender; and the mutant Tricia and her boyfriend Parker. Angel is also aided by Sophronia and Lavinia, as well as Nadira, a Slayer who hated him for his actions as Twilight but found inner peace after being mutated, and has a deep connection with the magic of Magic Town, which has become sentient. Following Illyria's death in Buffy Season Nine, Angel finds Fred alive again, having been restored by the reset of the laws of magic; she is forced to share her body with Illyria but is able to keep the ancient demon mostly under control. Faith also returns, now working for Zane Pharmaceuticals. A crossover with Buffy Season Ten reveals a new demon villain: Archaeus, who sired the Master and is able to control all the vampires from that bloodline, including Angel, Spike and Drusilla. Angel travels to San Francisco to help Buffy combat the demon lord, discovering that Buffy and Spike are now in a relationship, which Angel believes will not last. Meanwhile, Faith and Fred discover Drusilla in Magic Town, building a vampire army for Archaeus, who follows Angel back to London. The season ends with a conflict between Archaeus and his vampire army (including Drusilla and Detective Brandt), and Angel and his makeshift 'family' (Faith, Fred/Illyria, Koh, Nadira, Sophronia and Lavinia, and the Magic Town populace). Observing the battle, the sentient magic is almost convinced to join Archaeus, but ultimately defends Nadira from him and traps Archaeus inside a statue.

text: Reception[edit]

text: SFX magazine named Angel as the third greatest vampire in television and film, with rival Spike in first place. They stated that, while he could have worked simply as a brooding love-interest (Buffy) or redemption-seeking hero (Angel), the character also has a "wonderfully appealing, self-effacing humour, helped no end by Boreanaz's ability to look like a slapped puppy". While Angel could be "big and hard and manly", he could also be "sulky, pathetic, in need of a hug". They also cite his poor singing and dancing as examples of his "amusing awkwardness", which "spoke volumes about who he was".[38] For his role in Buffy the Vampire Slayer Season Two, Whatculture placed Angelus at Number One on their list of Buffy Big Bads, alongside Spike and Drusilla, stating that having Buffy's lover become her enemy 'emphasiz[es] the tragedy at the show’s centre that Buffy’s Slayer responsibilities mean she has to make difficult choices.' [39]

text: Angel was voted by thousands of Hello! readers as the sexiest on-screen vampire in 2009. He gathered 34 percent of the vote and finished ahead of other popular vampires like Edward Cullen, Eric Northman, Lestat de Lioncourt and Spike.[40] Forbes named Angel The Series as the Hollywood's second most powerful vampire show. Rankings were based on television ratings, inflation-adjusted box office performance, as well as presence in popular culture through blog and press mentions since 1979.[41]


document_title: Jesus Christ Superstar Live in Concert

question_text: who played simon in jesus christ superstar live

text: Jesus Christ Superstar Live in Concert

text: Description and plot[edit]

text: The musical is almost entirely sung-through, with a minimal to no amount of spoken dialogue. The plot is loosely based on the Canonical Gospels' accounts of the last week of the life of Jesus Christ, beginning with the preparation for the arrival of Jesus and his disciples in Jerusalem and ending with the crucifixion.

text: The apostle Judas Iscariot is worried that Jesus has become too swept up in the adoration of his followers, rather than focusing on his teachings about taking care of the poor, and that his following has grown too large and outspoken, which could soon provoke the wrath of the Roman empire ("Heaven on Their Minds"). Judas also object to Jesus spending his time with Mary Magdalene ("What's the Buzz / Strange Thing Mystifying"), who advises Jesus to relax ("Everything's All Right"). Judas's fears prove justified as priests Caiaphas, Annas and more gather and agree that Jesus and his movement must be crushed ("This Jesus Must Die"). Jesus enters Jerusalem filled with exaltation ("Hosanna") until he discovers that his temple has become overrun with unscrupulous merchants and money lenders. Overwhelmed by a throng of people needing his assistance, he tells them to heal themselves, and his follower Mary Magdalene attempts to calm him. Fearing that Jesus' movement is getting out of control, Judas goes to the Priests and tells them where Jesus will be the following night. The Priests pay him with 30 pieces of silver. Judas arrives at Jesus' location with Roman soldiers and identifies Jesus by kissing him on the cheek. The soldiers arrest Jesus and send him to Caiaphas, then Pontius Pilate, King Herod, and finally back to Pilate, who condemns him to death on the cross.

text: Cast and characters[edit]

text: Main[edit]

text:
John Legend as Jesus Christ
Sara Bareilles as Mary Magdalene
Brandon Victor Dixon as Judas Iscariot
Alice Cooper as King Herod
Norm Lewis as Caiaphas
Ben Daniels as Pontius Pilate
Jason Tam as Peter
Jin Ha as Annas
Erik Grönwall as Simon Zealotes

text: Ensemble[edit]

text:
Melody Betts
Felicia Boswell
Abby Corrigan
Micaela Diamond
Rory Donovan
Christine Dwyer
Mike Evariste
F. Michael Haynie
Charissa Hogeland
Bre Jackson
Mykal Kilgore
Billy Lewis Jr.
Justin Gregory Lopez
Angel Lozada
Vince Oddo
Kyle Taylor Parker
Joel Perez
Jonah Platt
Conor Ryan
Christina Sajous
Justin Matthew Sargent
Heath Saunders
Joey Taranto
Syndee Winters
Lauren Zakrin

text: Dancers[edit]

text:
Chloe Davis
Timothy Edwards
Shelby Finnie
Bahiyah Hibah
Juel D. Lane
Terk Lewis
Mayte Natalio
Sarah Parker
Willie Smith III
Maleek Washington

text: Musical numbers[edit]

text: The musical numbers from the track list of the soundtrack.[1]

text:
Act I
"Overture" – Orchestra
"Heaven on Their Minds" – Judas
"What's the Buzz / Strange Thing Mystifying" – Judas, Jesus, Mary, and Ensemble
"Everything's Alright" – Mary, Judas, Jesus, and Ensemble
"This Jesus Must Die" – Caiaphas, Annas, and Ensemble
"Hosanna" – Jesus, Caiaphas, and Ensemble
"Simon Zealotes / Poor Jerusalem" - Simon Zealotes and Ensemble
"Pilate's Dream" – Pontius Pilate
"The Temple" - Jesus and Ensemble
"Everything's Alright (Reprise)" – Jesus and Mary
"I Don't Know How to Love Him" – Mary
"Damned for All Time / Blood Money" – Judas, Annas, Caiaphas, and Ensemble

Act II
"The Last Supper" – Jesus, Judas, and Ensemble
"Gethsemane (I Only Want to Say)" – Jesus
"Transition" – Jesus and Judas
"The Arrest" – Jesus, Peter, Annas, Caiaphas, and Ensemble
"Peter's Denial" – Peter, Mary, and Ensemble
"Pilate and Christ" – Pilate, Soldier, Jesus, Ensemble
"King Herod's Song" – Herod and Company
"Transition After Herod" – Orchestra
"Could We Start Again, Please?" – Mary and Peter
"Judas' Death" – Judas, Annas, Caiaphas, and Ensemble
"Trial Before Pilate (Including the 39 Lashes)" – Pilate, Caiaphas, Jesus, and Ensemble
"Superstar" – Judas and Ensemble
"The Crucifixion" – Jesus and Ensemble
"John Nineteen: Forty One" – Orchestra

text: Production[edit]

text: Development[edit]

text: On May 10, 2017, it was announced that NBC had selected Jesus Christ Superstar to be their next live musical event. Executive producers were expected to include Craig Zadan, Neil Meron, Marc Platt, Andrew Lloyd Webber, and Tim Rice.[2][3][4] In December 2017, it was reported that British theater director David Leveaux would direct[5] and that the show would be performed in front of a live audience at the Marcy Avenue Armory in Williamsburg, Brooklyn.[6]

text: Members of the creative crew included costume designer Paul Tazewell and choreographer Camille A. Brown.[7]

text: Casting[edit]

text: In December 2017, it was announced that Alice Cooper had been cast as King Herod[5] and John Legend had been cast in the title role of Jesus Christ.[6] The following month, it was announced that Sara Bareilles would play Mary Magdalene.[8] In February 2018, it was announced that Brandon Victor Dixon, Norm Lewis, Ben Daniels, Jason Tam, Jin Ha and Erik Grönwall had been cast as Judas, Caiaphas, Pontius Pilate, Peter, Annas and Simon Zealotes, respectively.[9][10][11]

text: The production included a cast of forty-four actors, including Joel Perez and Lauren Zakrin, and additional dancers.[12][13][14]

text: Filming[edit]

text: The live production included an on-camera audience of about 1,500 people. Some of these extras lined two sides of the stage and formed a mosh pit effect.[15] The production was expected to utilize as many as twelve cameras to film the special.[12] In addition, a full dress rehearsal performance took place on Saturday, March 31, 2018 in front of an invited audience and was recorded. In the event of any difficulties during the live broadcast, the recording served as an emergency backup. It was ultimately not needed.[16]

text: Marketing[edit]

text: On January 7, 2018, NBC aired the first teaser trailer for the special during their broadcast of the 75th Golden Globe Awards.[17]

text: Reception[edit]

text: Critical response[edit]

text: Jesus Christ Superstar Live in Concert has been met with an overwhelmingly positive response from critics since it aired. On the review aggregation website Rotten Tomatoes, the production holds a 100% approval rating with an average rating of 8.5 out of 10 based on 23 reviews. The website's critical consensus reads, "Shaking up traditional religious and musical iconography, Jesus Christ Superstar Live in Concert is a sight to be heard, superbly infiltrating the classic source material with originality, rock legend star power, and soulful depth."[18] Metacritic, which uses a weighted average, assigned the production a score of 81 out of 100 based on 13 critics, indicating "universal acclaim".[19]

text: In a positive review, The New York Times's Noel Murray praised the special saying, "A conceptual and artistic triumph, NBC’s live telecast of Jesus Christ Superstar on Easter Sunday may have finally justified the recent live musical fad on network TV. Some technical flubs and one mixed-bag lead performance aside, the production was genuinely thrilling, taking chances with the staging of a classic but controversial Broadway show, much more daring than previous live musical broadcasts like The Sound of Music or Peter Pan."[20] Offering similar acclaim, The Hollywood Reporter's David Rooney said, "But here's the thing: This was a phenomenally balanced production of Jesus Christ Superstar, in which star power was equaled by depth of feeling and characterization in all the principals. And the immediacy of television, with close-ups capable of bringing us in tight on the performers' faces, gave Jesus and Mary Magdalene a complexity that often is missing from conventional productions."[21] Lorraine Ali of The Los Angeles Times also lauded the production saying, "The show was a collision of religion and theater and pop culture that could have been one holy mess. But by the grace of God, or maybe a great cast and lots and lots of expert staging, a great musical became a great TV production."[22] In a more mixed review, Maureen Ryan of Variety said, "This musical threw together glitter, sequins, leather, writhing hotties, a few big performances pitched to the last row, and camerawork that often felt as though it was hopped up on too many lattes. Actually, the ragged edges of a unifying concept did emerge over the course of the NBC musical’s two-hour-and-20-minute running time: If its philosophy could be summed up in one word, “excess” would just about cover it. That’s not necessarily a bad thing. But this live show was a lot."[23]

text: Ratings[edit]

text: The production was watched by a total of 9.6 million viewers and earned a 1.7 rating in adults 18-49 in Live + Same Day.[24] It was the most-viewed program of the night of both network and cable programming.[25]

text: Awards and nominations[edit]

text:
Year

Award

Category

Nominee(s)

Result

Ref.

2018

Primetime Emmy Awards

Outstanding Variety Special (Live)

Jesus Christ Superstar Live in Concert

Pending

[26]

Outstanding Lead Actor in a Limited Series or Movie

John Legend

Pending

Outstanding Supporting Actor in a Limited Series or Movie

Brandon Victor Dixon

Pending

Outstanding Supporting Actress in a Limited Series or Movie

Sara Bareilles

Pending

Outstanding Directing for a Limited Series, Movie or Dramatic Special

David Leveaux and Alex Rudzinski

Pending

Primetime Creative Arts Emmy Awards

Outstanding Casting for a Limited Series, Movie or Special

Bernard Telsey and Patrick Goodwin

Pending

Outstanding Costumes for Variety, Nonfiction or Reality Programming

Paul Tazewell, Laaleh Mizani, Heather Lockard, and Rory Powers

Pending

Outstanding Hairstyling for a Multi-Camera Series or Special

Charles LaPointe and Kevin Maybee

Pending

Outstanding Lighting Design / Lighting Direction for a Variety Special

Al Gurdon, Travis Hagenbuch, Ben Green, Kirk J. Miller, and Eric Christian

Pending

Outstanding Makeup for a Multi-Camera Series or Special (Non-Prosthetic)

Joe Dulude II, Angela L. Johnson, Milagros Medina-Cerdeira, LaSoyna Gunter, Margie Durand, and Andrew Sotomayor

Pending

Outstanding Production Design for a Variety Special

Jason Ardizzone-West and Melissa Shakun

Pending

Outstanding Sound Mixing for a Variety Series or Special

Thomas Holmes, Ellen Fitton, John Harris, Brian Flanzbaum, Mark Weglinski, David Crawford, Dan Gerhard, Mike Bove, Jason Sears, and Christian Schrader

Pending

Outstanding Technical Direction, Camerawork, Video Control for a Limited Series, Movie or Special

Eric Becker, Emelie Scaminaci, Ka-Lai Wong, Shaun Harkins, Raymond Hoover, Jay Kulick, Ron Lehman, Tore Livia, Adam Margolis, Lyn Noland, Jimmy O'Donnell, Mark S. Renaudin, and Andrew Waruszewski

Pending

text: Other media[edit]

text: Andrew Lloyd Webber: Tribute to a Superstar[edit]

text: On March 28, 2018, a one-hour special titled Andrew Lloyd Webber: Tribute to a Superstar premiered on NBC in honor of Webber's 70th birthday and to promote the coming premiere of Jesus Christ Superstar Live in Concert. In the special, Webber was interviewed by Glenn Close, John Legend, and Lin-Manuel Miranda. It also included appearances by some of the performers from Jesus Christ Superstar Live in Concert in various rehearsal scenes from the show.[27]

text: The special was executive produced and directed by Brad Lachman and written and produced by Matt Lachman. Interviews were conducted at Sardi's restaurant, Power Station recording studio, and the Renaissance Hotel Times Square. Production companies involved in the special included Brad Lachman Productions and Universal Television.[28][29]

text: Soundtrack[edit]

text:
Jesus Christ SuperstarLive in Concert
Soundtrack album by Cast of Jesus Christ Superstar Live in ConcertReleased
April 6, 2018Label
Sony Masterworks

text: An official soundtrack was released by Sony Masterworks, digitally on April 6, 2018, and physically on April 27, 2018.[30]

text: Track listing[edit]

text: All music composed by Andrew Lloyd Webber and Tim Rice.

text: No.TitleLength1."Overture"4:292."Heaven on Their Minds"4:303."What's The Buzz / Strange Thing Mystifying"4:224."Everything's Alright"4:055."This Jesus Must Die"3:366."Hosanna"2:597."Simon Zealotes / Poor Jerusalem"5:128."Pilate's Dream"1:489."The Temple"5:1710."Everything's Alright (Reprise)"0:4011."I Don't Know How to Love Him"3:4012."Damned for All Time / Blood Money"4:3313."The Last Supper"7:1014."Gethsemane (I Only Want to Say)"5:4415."Transition"0:2216."The Arrest"4:0217."Peter's Denial"0:3818."Pilate and Christ"2:5819."King Herod's Song"3:2220."Transition After Herod"0:3921."Could We Start Again, Please?"2:3522."Judas's Death"4:5423."Trial Before Pilate (Including The 39 Lashes)"6:1924."Superstar"4:3425."The Crucifixion"1:4826."John Nineteen: Forty One"2:4827."Curtain Call"2:34Total length:1:35:00