YMMV / Jesus Christ Superstar

• Adaptation Displacement: The 1973 movie still tends to be the best-known version, leading to a bit of internal Fandom Rivalry, especially with fans of the original 1970 concept album.
• Alternative Character Interpretation:
  • How much you end up sympathizing with Judas is, of course, up to the interpretation of the audience. Either he was a pawn in God's/Jesus' plan, a pawn in the Pharisees' plans, or misguided but ultimately chose his fate, or a mix. Word of God from Tim Rice says that his aim as far as presenting Judas' character was more to do with showing what he might have done in the same situation rather than making him interesting.
    • If he's willingly betraying Jesus, or God is manipulating him, perhaps doing More than Mind Control. After all, during "Damned For All Time," Judas keeps singing, "I really didn't come here of my own accord." Maybe it's that God had to offer a little bit of persuasion to have his death.
    • The song "Simon Zealotes", and Judas subsequently turning in Jesus, can be read in one of two ways depending on the production. In some versions, Jesus appears to be seduced by Zealotes' promises, and Judas realizes he really has changed and is intent on creating a political movement. In others, Jesus is disgusted by the frenzy of the crowd, and Judas realizes he can't control them anymore — and whether or not Jesus wants it, they will create a rebellion in his name if not stopped.
  • Pontius Pilate was also given some different perspectives. In the musical he does not want to execute Jesus, thinking he is just another nut case who doesn't deserve death and is utterly baffled why the mob wants him killed. He only goes through with the execution because he was given no other choice. In "The 39 Lashes", Pilate is often depicted as turning more and more discomfited and agitated as he counts the lashes out loud.
  • In the 2000 film, even Jesus gets this; he comes off more than a little selfish in response to Judas in his early scenes, when Judas is protesting Mary's spending money on expensive foot ointments instead of the poor:
    Jesus: There will be poor always, pathetically struggling; look at the good things you've got!
    ...You'll be lost, and you'll be so sorry, when I'm gone!
    • The 1973 version has him be more sad and solemn about it. It's unclear if he is merely refuting Judas, or protecting Mary Magdalene.
    • The Gospel of John, from where this scene is taken, says that Judas didn't actually care about the poor but only wanted to steal the money, as he was their treasurer. In the musical, there's no indication he is anything but sincere.
  • Caiaphas comes across this way, particularly if you know the history of the area. His interest is in preserving the status quo, not because the status quo is so good, but because the Romans will brutally put down any rebellions - like they eventually did a generation later when Judea rose in arms. Caiaphas is willing to sacrifice Jesus' life because he believes that doing so will save many, many other lives. This is fairly ruthless, but it's not evil or sadistic (as Caiaphas is often portrayed elsewhere and Annas still is here).
  • Mary Magdalene (whose characterization as a former prostitute is Alternative Character Interpretation all by itself) gets scenes that show her to be spiritual and in tune with Jesus' message. However, seen through Judas' eyes, she comes off as a Yes-Man constantly telling Jesus that "everything's alright" rather than confronting him about the building problems, as Judas tries to do.
    • Mary's attitude in "Everything's All Right" can come off as her breaking up the fight between Jesus and Judas over if she's allowed, or as a prostitute being all too used to angry men as her customers. Perhaps there is some worries that she has seen what happens when you don't keep the peace in a dangerous profession; this in fact makes her a Foil to Judas. She keeps giving looks to Jesus that she's not worth it in the 2018 version, and telling Judas that they can afford to relax for one night.
  • On a different note, whether or not Christ is actually divine is ambiguous. There is evidence both for (his prophecy to Peter and Judas) and against (Jesus running from the lepers instead of healing them, and his prayers in Gethsemane) in the music, and it is typically left to the individual production to sort it out, usually in Judas' "Jesus Christ Superstar" number and after Jesus' death, where some productions will throw in a hint that he has resurrected.
  • Herod is usually played one of two ways: as a petulant Manchild who expects Jesus to perform miracles on his command (after all, he's King and normally his every whim is law) and throws a tantrum when Jesus won't dignify him with a response, or as a Smug Snake who doesn't believe in Jesus' divinity and is only out to mock and humiliate Him. Josh Mostel in the 1973 version is the former kind; Victor Spinetti on the 20th anniversary London cast album, Chris Moyles in the 2012 O2 concert and Alice Cooper in the 2018 version are the latter kind.
• Awesome Music: The soundtrack topped the charts in the United States before the play even came out, as the concept album charted in 1969.
  • "Heaven On Their Minds"
  • "Superstar" (#14 on the Billboard Hot 100, #8 on Cashbox)
  • "This Jesus Must Die"
  • "Gethsemane"
  • "The Last Supper"
  • "Damned For All Time"
  • "Simon Zealotes"
  • "I Don't Know How to Love Him"
• Big-Lipped Alligator Moment:
  • King Herod's Song (or at least that's how his number usually comes across).
  • In the 1973 movie, the bizarre scene with Judas being chased through the desert by helicopters and tanks.
  • The title song, which is sung by Judas's ghost, despite the rest of the play being careful to avoid any explicitly supernatural or miraculous elements. Confusingly, it's also the one scene in the play that is ostensibly set in the present day, as indicated by the references to Islam and to modern means of mass communication, despite being placed in-between two scenes that are both set in Jesus's lifetime. The 2000 movie version tries to explain this by hinting that Jesus might have hallucinated the entire scene while on the cross.
• Broken Base:
  • Fans of the 1973 movie, the 2000 movie, and the 2012 arena tour are quick to promote which one they think is better over the others, though some JCS fans like all the versions.
  • Fans of Ian Gillan vs. fans of Ted Neeley. This is Serious Business.
  • As well as Murray Head vs. Carl Anderson.
  • The autotuning on the 2012 arena tour's recording has people split as to whether it's not too obtrusive or ruins the whole show. Both camps are united in wanting an unaltered version though.
• Crosses the Line Twice: King Herod is the one who determines Jesus is a fraud and sends him back to Pilate. Yet his song number is a bouncy plea for Jesus to perform miracles while bopping around. The 2012 version turns him into a talk show host, where he asks the viewers to vote if Jesus is a miracle worker or a fraud. He gets a round of applause after his song, despite the audience knowing that he sealed Jesus's fate and that he's set the ball rolling for the climactic crucifixion.
• Evil Is Cool:
  • Alice Cooper as King Herod in the 1996 and 2018 versions, on the basis of—oh, who are we kidding, he's Alice Cooper as Herod!
  • High Priest Caiaphas in pretty much every version due to his charisma and intelligence, not to mention his deep voice and interesting songs.
• Ensemble Dark Horse: It tends to vary depending on the production, so here is a list of examples:
  • Peter for the 1973 film. Strangely his actor (Paul Thomas/Phil Toubus) was the only surviving film actor not to return for the reunion, and has never really spoken about the show - possibly due to becoming a famous porn director.
  • For the 2012 Live Arena Tour Alexander Hanson as Pontius Pilate.
  • Alice Cooper as King Herod in the 1996 recording and the 2018 live special.
  • Erik Grönwall of H.E.A.T attracted a lot of attention as Simon Zealotes in the 2018 production.
  • Norm Lewis as Caiaphas was greeted by thunderous applause at his entrance in the 2018 live special.
• Even Better Sequel: In the sense that it's a followup on Joseph and the Amazing Technicolor Dreamcoat. Although Dreamcoat is well-loved for being Webber's Breakthrough Hit, Superstar is counted among his masterpieces such as The Phantom of the Opera and Cats.
• First Installment Wins:
  • Fans of the original LP concept album point out that it set the standard for all subsequent versions.
  • Literally, in the case of the vocal score, which in many places merely transcribes what was performed on the original album.
• Genius Bonus: The tanks that chase Judas just before Blood Money in the 1973 film? They were Centurions.
• Germans Love David Hasselhoff: Both the movie and the musical were quite big in 1980's USSR. Yeah, you heard that right.
• Ham and Cheese: Pilate tends to be played with either this or Tranquil Fury. Fred Johanson (2000) is an example of the former; Alex Hanson (2012), of the latter. Barry Dennen (1973) does both at different times, but errs toward ham, albeit with not as much over-the-top attack-dog viciousness as Johanson.
  • Worth noting is that Pilate's apparent one constant character trait is being out of his depth, and a lot of his characterization comes from this. Barry Dennen's Pilate is relatively calm when we meet him in Act I, but becomes angrier and more vicious throughout the show as a result of the stress and strain of trying to understand and to dispense justice while knowing the crowd will lynch him if he doesn't give them what they want.
  • Meanwhile, Fred Johanson's Pilate is near tears from fear in "Pilate's Dream", but resolutely macho and hypermasculine when next we see him - the tears are his real self, while the borderline psychotic rage which characterises the rest of his performance is a facade of machismo put on to please the crowd and give the impression of strong, merciless leadership. Reinforcing this impression is the fact that in the lull just before the final "Remember Caesar" section of "Trial Before Pilate", when Jesus is the only person who can see his face, the facade falls and the rattled, extremely scared look from before is back.
  • Among the major portrayals, Hanson's Pilate is different in that he is negotiating from a position of strength; Dennen's Pilate risks being physically torn apart by the mob, while Johanson's Pilate risks an unsustainable loss of face. Hanson's Pilate seems to be better-protected, and as a result he remains relatively calm even up to the start of "Trial Before Pilate", when he begins to sense that things are not as they should be and that the problem will not blow over on its own. His eventual rage is not born of fear; it comes from bemusement, turning to frustration and helplessness.
• Harsher in Hindsight: It's subtle, but in the 2000 film, during Hosanna and Simon Zealotes, some of the disciples are wearing vaguely militaristic gear along with/instead of their "normal" costumes. This is all fine and good, except for one whose body armour looks eerily similar to the stereotypical suicide-bomber vest that the world would become very familiar with in a matter of years.
• Jerkass Woobie: Oh Judas, you're so troubled.
• Just Here for Godzilla: Many watched the 2018 live version just for Alice Cooper's performance that many agreed stole the show.
• Magnificent Bastard: Caiaphas is the intelligent High Priest of Jerusalem. When the popularity of Jesus of Nazareth puts his people at risk, Caiaphas decides to have Jesus killed to protect his people. Caiaphas proceeds to manipulate Judas Iscariot into giving him Jesus's location, exploiting his altruistic motives to make him take money for the deed. He then has Jesus brought to the Roman government, utilizing the crowd's bloodlust to force Roman governor Pontius Pilate into a corner. Caiaphas then exploits the lack of a death penalty among his community to force Pilate to execute Jesus, leaving him to take the blame for Jesus's death, succeeding in his goal and keeping his people safe.
• Memetic Mutation:
  • A well-known parody. "Jesus Christ... Superstar... Burning 'round the corner on a Yamaha!"
  • Or less awesomely, "Looks like a woman and he wears a bra..."
  • Caiaphas screaming "FOOLS! YOOOOOU HAVE NO PERCEPTION!" in the '00 version has been repurposed as a general reaction.
• Narm:
  • In the original album, during "Pilate and Christ" when a Roman soldier says "Someone Chrois', king of da Jeeewwwsss" in the Cockney accent.
  • The bizarre facial expressions made by Simon during "Simon Zealotes". The portrayal is less "violent, rebel agitator" and more "stoned, dancing hippie". Made even better by Judas' reaction shot, which can only be described as "What is this I don't even..."
    • You can even see Christ cracking up a little when Simon starts singing in his face.
    • It doesn't get better in the 2000 production, given Simon's frosted tips and the flamboyancy of some of his gestures.
  • The 90s Aussie production in spades. Strange Thing Mystifying sounds like a hair metal anthem.
  • The potential for Narm in "Heaven On Their Minds" is very strong, especially the first cry of "JEEEESUUUUS!"
  • The way Peter interjects "No, not me!" after Jesus says Peter will deny him in the 1973 movie.
• Narm Charm: A rock opera centered around Jesus Christ may sound laughable, but the incredible music and moving portrayal of his last days have made the piece an enduring classic.
  • "King Herod's Song" in the film Crosses the Line Twice past Narm and goes straight into ridiculously awesome.
  • Our Lord and Savior indulging in Metal Screaming may seem cringeworthy on paper, but get a good actor to do it and it's awesome. In the case of "Gethsemane", it's heartbreaking.
• One-Scene Wonder:
  • Herod, especially when he's played by Rik Mayall.
  • In the 2018 NBC version, Alice Cooper as Herod!
  • Simon Zealotes. The 2018 concert cast Swedish rockstar Erik Grönwall, and he nailed it.
• Questionable Casting: John Legend as Jesus is a bit divisive both in terms of acting and singing. Some believe he held his own quite well against more experienced actors whilst others thought his performance stuck out as more amateurish and awkward. Then there are those who think that the soulful baritone singer butchered rock tenor music that was out of his range, while defenders think he did justice by the score and enjoyed a vocalist giving a different take on the songs.
• Refrain from Assuming:
  • The opening song that Judas sings is "Heaven on Their Minds," not "Listen Jesus" or any variation thereupon.
  • Jesus' Heroic BSoD Song is simply "Gethsemane", not "I Only Want To Say", though it is sometimes called "Gethsemane (I Only Want To Say)". Neither is the song titled "Why should I die?"
  • The finale is simply "Superstar", not "Jesus Christ Superstar".
• She Really Can Act: Former Spice Girl Melanie C. surprised a lot of people with her powerful-yet-vulnerable portrayal of Mary Magdalene in the UK Arena Tour.
• Signature Scene:
  • "Gethsemane". Particularly that one high (G5) note on "WHYYYYYYY should I die?", originally a Metal Scream that Ian Gillan improvised. So it becomes extra notable when Jesus doesn't do it that way, like John Legend (who knew he couldn't hit a G5 and thus sang the line as it was written in the sheet music; this also applies to Michael Crawford and Michael Ball, as well as Evan Tyrone Martin), and John Farnham in the 1992 harder-sound Australia revival who snarls the entire line as "Why should I die?!" Colm Wilkinson also gave it a try, but ended up hitting a G#4 instead.
    • Here's a supercut of various renditions of the line.
  • "Superstar", which they released as a chart-topping single (and a music video) for Murray Head even before the concept album was done. Also has a Title Drop.
• Strawman Has a Point: Caiaphas and Annas are sitting on a powder keg (the people hate the Romans and are looking for any excuse to rebel) and see Jesus as the equivalent of a lit match in the powder keg. In Real Life, less than fifty years after the Crucifixion, the Jews did rebel… and got utterly crushed.
• Suspiciously Similar Song:
  • The background cacophony in "The Crucifixion" seems heavily inspired by "Revolution 9", released just a few years prior.
  • Parts of “Damned For All Time” sound a lot like the Batman theme.
• They Changed It, Now It Sucks!: Some fans were very upset at the 1990s rewrite of the libretto to remove the line "One thing I'll say for him, Jesus is cool". Reportedly, some fans claimed this ruined the entire first act. Perhaps in response to this, most productions since the latter half of The New '10s restore that line.
• Vindicated by History: With Christians, since when the musical first came out, many were outraged, claiming it was blasphemous — not helped by how this was around the height of the "rock and roll is Satanic" era. But over the years, this mindset has cooled down, and if anything, many Christians are happy that they have a somewhat mainstream story about the Passion. Going into The '90s, it was not atypical to see churches perform the musical as part of their Easter festivities. In fact, the 2018 live version seemed to have Christians in mind, considering how it was released on Easter and many religious organizations and media groups bought ad time.
• The Woobie:
  • Jesus and Mary Magdalene. Depending on the production, Judas could be as well.
  • Pilate. He really wants to be anywhere else.

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