Ted Neeley, star of the seminal 1972 film “Jesus Christ Superstar” and on stages around the world since, considers himself “a rock ‘n’ roll drummer who hits the high notes.”
Neeley, who has worked with everyone from Bo Diddley to Keith Carradine to Meat Loaf, composed the theme song to the Michael Landon’s “Highway to Heaven” series.
The latest “Jesus Christ Superstar” tour comes to Avon tonight and Saturday, and Denver’s Buell Theatre on Sunday, with Corey Glover from “Living Color” as Judas. At one time they were calling this “The Ted Neeley Farewell Tour,” but no more. “I must have missed the memo,” he said.
John Moore. So, you’ve been playing Jesus for more years now than Jesus was on Earth. Don’t you think it’s maybe given you a bit of a Jesus Complex?
Ted Neeley. Absolutely (laughing). I am that I am. It’s a really good calling card, I must say. But can I tell the truth? I am so fortunate to even have a job. This piece has so enriched my life. I am amazed more so than anyone that the voice still works, and that there is an audience that still accepts me in this role. I am amazed and thankful for that, and I am in no hurry for it to end.
Moore. Tell us about filming in the Israeli desert.
Neeley. We were in the highest point of the country, and during a break, I found a place where I could just see as far as I could in all directions. And there was nothing, mind you — just desert. I closed my eyes and started to meditate. A few minutes later, I opened my eyes, and I was just surrounded by children. And I wasn’t hallucinating. They were part of these nomadic tribes, and they came to look at the man who was dressed like “this guy” we all know.
Moore. That would give me a Jesus Complex.
Neeley. There was always this element of youth just coming out of the dark, out of caves, in the middle of this desert, and that was constantly haunting me. But whenever we started to think mystically, maybe we had gone back 2,000 years, all we had to do was look up and see the tanks and jets that were bombing the borders around us. It was a dichotomy, that whole experience.
Moore. Speaking of mystical, it’s been said if you look closely at the final shot of the film, you can see a mysterious someone in the desert.
Neeley. And let me just say: Those who have eyes to see will see that mysterious someone. The reason is that (director) Norman Jewison and myself took issue with the fact that (creators Tim Rice and Andrew Lloyd Webber) felt the piece needed to end with a crucifixion, showing no suggestion of possible resurrection and ascension. So when Norman made the film, that mysterious appearance is to suggest that life does go on, that there was resurrection of the spirit.
Moore. From the start, religious people have found it sacrilegious that in the stage version, Jesus dies, and he stays dead. But after Judas hangs himself, he “comes back to life” to sing the showstopping title tune.
Neeley. Initially, that was nothing more than wanting to have a big closing number. . . . But we address it on stage now. I finally was able to get Tim and Andrew to agree that we can assimilate the essence of resurrection after crucifixion. Now, people are thankful that we have done it. And it feels really good.
Moore. I’ve kept you a lot longer than I was supposed to.
Neeley. That’s OK. I have time. . . . I’m going to live forever.
John Moore: 303-954-1056 or jmoore@denverpost.com
Listen to our entire interview with Ted Neeley
More Moore: Ted Neeley is John Moore’s guest on this week’s “Running Lines …” podcast. To hear their entire 25-minute podcast conversation, including Neeley’s thoughts about reccent tinkering with the show’s lyrics, . Then click on the miniplayer’s triangular “play” button, and the podcast will begin playing without your having to download.
Ticket information
“Jesus Christ Superstar” plays at 7:30 p.m. today (Jan. 18) and at 2 and 7:30 p.m. Saturday (Jan. 19) at the Vilar Center in Avon (888-920-2787). It then plays at 2 and 7 p.m. Sunday (Jan. 20) at the Buell Theatre in the Denver Performing Arts Complex ($69, ).
