Alice Cooper Cast as King Herod in NBC’s ‘Jesus Christ Superstar Live!’

Rock ’n’ roll icon Alice Cooper has been cast as the flamboyant KingHerod in NBC’s staged rock concert of Jesus Christ Superstar Live! Also joining the special, which will air on Easter Sunday, April 1, is British theatre director David Leveaux, a five-time Tony Award nominee.

“Alice Cooper, whose theatricality is the stuff of legend, is the perfect rock star to play Herod in our live production,” said Robert Greenblatt, chairman of NBC Entertainment. “Andrew Lloyd Webber and Tim Rice wrote a showstopping musical number for Herod, and we all look forward to the ‘King of Shock Rock’ taking on the King of Judea. As the casting for Superstar ramps up, we can feel the excitement building for this brand new concert experience of what has long been considered the original rock musical.”

Get the full story on Hollywood Reporter HERE

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16th Annual Christmas Pudding Charity Event



December 9th, 2017 at the Celebrity Theatre. Alice Cooper’s Annual Christmas Pudding has come to be one of Phoenix’s signature holiday events. The Christmas Pudding directly benefits Solid Rock and The Rock Teen Center and brings together some of the finest musicians, dancers, TV and film actors, and comedians in today’s entertainment history.

Continue reading 16th Annual Christmas Pudding Charity Event


Watch Alice Cooper Perform “Ballad of Dwight Fry” and “Killer” with the Foo Fighters on Jimmy Kimmel Live!


Alice Cooper review: Adoring fans treated to classics at Thebarton Theatre

Alice Cooper Performs Dwight Fry on tour, 2017. Photo courtesy CerealKyler Photography

THERE is only one man who can combine a ballerina, a guillotine, multiple costume changes and a flagrant disregard for knife safety and turn it all into a mesmerising stage show.

That’s right, Alice Cooper and co trundled into Thebarton Theatre on Thursday evening, along with at least three semi trailers full of stage props and pyrotechnics, set to blow the minds of fans both young and old.

Along for the ride on the nation spanning “A Night with Alice Cooper” tour is original Kiss guitarist Ace Frehley who warmed up the appreciative crowd with a 50 minute opening set.

Frehley and his band look and play the part of rockstars pulled straight from the hey day of glam rock and from the very beginning engage with the audience.

The guitar pick budget alone would be staggering for the Frehley band who litter the front row with the plastic triangles like they were so much confetti.

Tearing through a tight set of Kiss hits like “Rocket Ride”, “Strange Ways” and “New York Groove” the original Space Ace cuts an imposing figure on stage and is backed up by a talented ensemble.

Frehley finished the set in style, launching into a lengthy solo on a guitar which spewed smoke onto the stage, before non chalantly changing guitars and continuing to wail as the audience sat in largely awed silence.

Before we continue to the main act let us acknowledge the ravages of time: in 2018 the band Alice Cooper will have been around for 50 years and the bands quintessential song of teenage rebellion “School’s Out For Summer” will turn 46.

For a man only months away from his 70th birthday, Vincent Furnier, known to the world as Alice Cooper, is as sprightly as a man half his age and takes his stage craft seriously.

He has assembled around him an ensemble which is world class and most importantly, genuinely look like they are having fun playing alongside each other.

The three guitarists, Tommy Henriksen, Ryan Roxie and Nita Strauss, alongside bassist Chuck Garric and drummer Glen Sobel round out the well coordinated and charismatic touring band.

Alice Cooper pioneered the shock rock genre and from the moment the curtain falls and the first creeping chords of “Brutal Planet” begin, the audience is taken on a ride through a fun house of horror tropes.

The stage is covered with creepy dolls and clown masks with Sobel perched high above on an enormous drum kit.

Making his way through classics “No More Mr Nice Guy” and “Under My Wheels”, the set list hits songs throughout Alice Cooper’s back catalogue.

Throughout the songs Alice Cooper changes costumes numerous times, waves a cash skewered rapier over the front rows, plays with knives and swords and gets electrocuted.

Crowd favorites “Poison”, “Feed My Frankenstein” and “Only Women Bleed” become full throated singalongs with the audience.

Guitarist Nita Strauss, who replaced Adelaide’s own Orianthi in touring band line up, and Sobel are both given free reign on lengthy solo’s with Sobel’s drawing rabid praise from the crowd.

Somewhere along the way a ballerina appears on stage for a brief interlude of interpretive dance and Alice Cooper is placed in a straight jacket and decapitated with a guillotine, but really, all of this was to be expected with a live show of this caliber.

For an encore the band performs “Schools out for Summer” complete with singalong and brief lapse into Pink Floyd’s “Another Brick in the Wall”.

As inflatable balls drop from the ceiling Alice Cooper swings with care and abandon with a katana, popping the balls, before sticking the blade point down into the stage.

Five decades have done little to slow Alice Cooper down.

The stage show is scripted and dramatic and the man behind the mask himself is the consummate showman.

A day will come in the future when Alice Cooper hangs up his top hat and tails, a day the make up removal industry is no doubt dreading, and calls an end to extensive touring.

Until then the best advice is to catch Alice Cooper whenever and however you can because it is a live show like no other.


REVIEW – SMH.COM – Alice Cooper: King of the macabre retains his sense of humour and horror


Alice Cooper
October 21, Hordern Pavilion
Reviewed by Lilen Pautasso

A curtain painted with a freakish face hides the stage. The room is dark and then – suddenly – the eyes on the curtain dramatically light up, changing from white to red as a familiar voice says, “You have been chosen to spend the night with Alice Cooper.”

Alice Cooper may be getting older but his defining sense of theatricality remains.

Alice Cooper may be getting older but his defining sense of theatricality remains. Photo: Katherine Woods

The curtain falls and there he is, standing atop a podium in tightly clad leathers, his long black hair and black eyes visible from the farthest seat in the room. Alice Cooper soaks up the roar of the crowd, a wall of fire behind him, then shouts, “Sydney, this is where your death begins!” as Brutal Planet kicks things off.

Make no mistake: Cooper’s shows are the definition of morbid theatre. His renowned love of horror manifests in a performance akin to a Halloween special: you witness his death, his transformation into a monster, his elaborate escape from a straitjacket and more. It’s an eccentric, elaborate journey that has made him the king of the macabre for five decades.

His band comprised a talented line-up, notably drummer Glen Sobel and guitarists Ryan Roxie and Nita Strauss. Each grasped their spots in the limelight, performing captivating solos and making their mark on each song. Strauss, the only woman on the stage, especially impressed with her scintillating guitar solo between Woman of Mass Distraction and Poison.

Cooper continued through his greatest hits: No More Mr Nice GuyDepartment of YouthPainBillion Dollar Babies – a set list made for the ultimate fan. (The only song he played from latest album Paranormal was Paranoiac Personality.)

Naturally, anticipation is always high for particular songs, especially if you’ve seen Cooper live before, such as his electrocution and transformation into a monster during Feed My FrankensteinI Love the Dead, where he is captured, dragged to a guillotine and dramatically beheaded; and the euphoric conclusion of School’s Out, complete with gigantic balloons, streamers and confetti.

He may be getting older, slower and losing the grit in his voice, but his mix of horror and humour and defining sense of theatricality defiantly remain. It’s what makes him superb. It’s what makes him Alice Cooper.