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Originally released as a ConceptAlbum in 1970 (when Lloyd Webber and Rice were still in their very early twenties, no less!), it made its way to the Broadway and London stage in 1971, and was adapted into a film directed by Norman Jewison in 1973. An updated version was recorded sometime around 2000 by Webber's Really Useful Group for Creator/{{PBS}}. A filmed version of the UK arena tour starring Music/TimMinchin as Judas was released on DVD and digital in 2012, and a live adaptation starting Music/JohnLegend as Jesus, Music/SaraBareilles as Mary Magdalene and Music/AliceCooper as Herod that aired on Creator/{{NBC}} in 2018.
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Originally released as a ConceptAlbum in 1970 (when Lloyd Webber and Rice were still in their very early twenties, no less!), it made its way to the Broadway and London stage in 1971, the Australian stage in 1972, and was adapted into a film directed by Norman Jewison in 1973. An updated version was recorded sometime around 2000 by Webber's Really Useful Group for Creator/{{PBS}}. A filmed version of the UK arena tour starring Music/TimMinchin as Judas was released on DVD and digital in 2012, and a live adaptation starting Music/JohnLegend as Jesus, Music/SaraBareilles as Mary Magdalene and Music/AliceCooper as Herod that aired on Creator/{{NBC}} in 2018.
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* DatedHistory: The show does an admirable job of conveying the historical context of the Passion of Christ. However, it includes the then-popular interpretation of Mary Magdalene as a reformed prostitute. Mary's entire character (and her big song) are centered around this (when she says she doesn't know how to love Jesus, she means it literally...the only way she's ever known how to express love is physically and that's not appropriate here). But the whole idea of Mary Magdalene as a prostitute sprung from a misreading by Pope Gregory that conflated her with Mary of Bethany and with the penitent sinner who washed Jesus' feet and dried them with her hair. There is no mention in the Bible of Mary being a prostitute; instead, the gospels describe her as one of several independently wealthy women who helped fund Jesus' ministry. Pope Gregory's misconception gave Christianity the figure of a repentant sinner whose life was transformed by Jesus, and art, literature, and other Passion narratives have run with this far into the twentieth century. Only relatively recently has Mary's true role in the disciples been getting more emphasis and the misconception corrected in various Passion narratives.
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*** The 2012 arena tour has some fun with this section by portraying Pilate as a rich judge interrupted during his morning workout at home. Every break between those words is filled by him doing a push-up. (FridgeBrilliance: ''Pilate'' is doing ''pilates!'')
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*** The 2012 arena tour has some fun with this section by portraying Pilate as a rich judge interrupted during his morning workout at home. Every break between those words is filled by him doing a push-up. (FridgeBrilliance: ''Pilate'' is doing ''pilates!'')
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*** The 2012 arena tour has some fun with this section by portraying Pilate as a rich judge interrupted during his morning workout at home. Every break between those words is filled by him doing a push-up.
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*** The 2012 arena tour has some fun with this section by portraying Pilate as a rich judge interrupted during his morning workout at home. Every break between those words is filled by him doing a push-up. (FridgeBrilliance: ''Pilate'' is doing ''pilates!'')
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*** Additionally, director [[Creator/NormanJewison Norman Jewison]] (who also directed ''Theatre/FiddlerOnTheRoof'') is a [[NonIndicativeName Christian]].
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*** Additionally, director [[Creator/NormanJewison Norman Jewison]] (who also directed ''Theatre/FiddlerOnTheRoof'') is was a [[NonIndicativeName Christian]].
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* TheElevenOClockNumber: "Superstar", as Judas questions Jesus's methods of delivering the word of God to the masses, and if Christ knew that His HeroicSacrifice would still be discussed, celebrated, debated but ultimately remembered thousands of years later.
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** Also, in newer performances, the last line (''"Now... beeeefoooore IIIII chaaaaange myyyyy '''MIIIIIIIIIIIIIIIIIND'''"'') is sung twice, with the second "mind" being prolonged until the end of the song when the final crescendo finishes.
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%% * RoyalBrat: Herod.
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%% * WorldOfHam: Israel in 33 AD.
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***Additionally, director [[Creator/NormanJewison Norman Jewison]] (who also directed ''Theatre/FiddlerOnTheRoof'') is a [[NonIndicativeName Christian]].
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** Pontius Pilate is mildly campy and "theatrical" in many productions following the original, to the point of {{flanderization}} when [[Film/MontyPythonsLifeOfBrian Monty Python did it too]]. This is probably due to the very flamboyant (and unashamed real life gay man) Barry Dennen, who created the role in the ConceptAlbum, original stage production, and 1973 film, though ironically he is far campier as Barry-Dennen-about-to-play-Pilate in the FramingDevice than he is as Pilate proper. Ben Daniels skirts the same line in the 2018 version, while Fred Johansen’s 2000 version leans more toward Pilate as played by [[Creator/BrianBlessed BRIAN BLESSED!]] and Alexander Hanson’s in 2012 is simply a detached, wealthy bureaucrat.
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** Pontius Pilate is mildly campy and "theatrical" in many productions following the original, to the point of {{flanderization}} when [[Film/MontyPythonsLifeOfBrian Monty Python did it too]]. This is probably due to the very flamboyant (and unashamed real life gay man) Barry Dennen, Creator/BarryDennen, who created the role in the ConceptAlbum, original stage production, and 1973 film, though ironically he is far campier as Barry-Dennen-about-to-play-Pilate in the FramingDevice than he is as Pilate proper. Ben Daniels skirts the same line in the 2018 version, while Fred Johansen’s 2000 version leans more toward Pilate as played by [[Creator/BrianBlessed BRIAN BLESSED!]] and Alexander Hanson’s in 2012 is simply a detached, wealthy bureaucrat.
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* SpeakingUpForAnother: Judas is criticizing Mary Magdalene, saying that while she amuses, and he doesn't object to her [[HookerWithAHeartOfGold profession]], she doesn't fit in with Christ's teachings. [[note]]Many scholars believe that Mary Magdalene's reputation as prostitute are actually her being confused with another woman, oft referred to as "The Penitent Woman", though there is some debate as to whether the confusion was deliberate and malicious or not, but the common belief is what is presented in Andrew Lloyd Webber's musical.[[/note]] Jesus Himself is having none of it.
--> '''Jesus:''' Who are you to criticize her? Who are you to despise her? Leave her, leave her, let her be now. Leave her, leave her, she's with me now. If your slate is clean, then you can throw stones. If your slate is not, then leave her alone!
--> '''Jesus:''' Who are you to criticize her? Who are you to despise her? Leave her, leave her, let her be now. Leave her, leave her, she's with me now. If your slate is clean, then you can throw stones. If your slate is not, then leave her alone!
