History Tearjerker / JesusChristSuperstar

* Mary Magdalene's affection for Jesus might sometimes come off as something of a RomanticPlotTumor, as it's a minor thread compared to the main story of Jesus's betrayal, trial and crucifixion ... and yet there's real tragedy in the point of view of a woman's who's presumably been mistreated by men her entire life, encounters a man who emotes kindness and love for everyone regardless of station or life circumstance, and honestly does not know how a heathy person is supposed to respond to such wholesome treatment. That's sad enough before we add on the (unknown to Mary) facts that Jesus's mission on earth does not involve falling into romantic love with anyone, and that his earthly time is nearly completed. There's unrequited love ... and then there's falling in love with the Son of God ... who's about to be brutally executed. Yikes, Mary.

* It's relatively subtle and in the background of the epic meltdown that Jesus and Judas are both going through but during "The Last Supper" in the 2000 version, Peter is absolutely ''devastated'' to hear Jesus say he'll deny him three times and the two apostles on either side of Peter at that moment instantly scramble right away from him as though he's diseased. All throughout the rest of the song, the clearly distressed Peter remains completely shunned by the other apostles with one of them even outright ''pushing him to the floor''.

** In 2017, a Grand Finale event was staged featuring Ted Neeley, Yvonne Elliman and Barry Dennen. The show closed with the three of them singing this. Four months later, Dennen passed away.

** The 1973 movie has Mary Magdalene let out a heartwarming cry as the lashes begin, and while King Herod [[KickTheDog initially laughs]] at the spectacle, by the end even he's horrified.

*** And then the final shot... the cross, as the sun sets, with a shepherd somehow not noticing it, and leading is flock of sheep across the frame as though this were just any other day. According to director Norman Jewison, nobody expected this to happen, and for all everyone could have known, this could have been a ghost captured on film... but it was left in anyway, because it was such a perfect image. Most often see it as an homage to the final shot of ''Film/BenHur''.

** The ending of the original movie, with all the hippies, except for the one portraying Jesus, slowly getting back on the bus, with Judas remaining the longest, wistfully looking at the cross before the bus drives away...

* The 2012 version has Jesus actually tossing Judas to the ground, telling him both GetOut and GetItOverWith, basically forcing Judas's hand to betray him. From the look on their faces, Jesus doesn't want to do it.

** Alexander Hanson's Pilate from the 2012 version is arguably the most tragic due to how restrained he is for much of the play. While most other performances have Pilate as somewhat hammy Hanson's mostly seems unperturbed by Jesus' presence. It's only during "Trial before Pilate" that Jesus' vague answers and the crowd baying for his blood get to him, making his screaming Jesus' sentence that much more impactful compared to his earlier demeanour.

** The 2012's version is also exceptionally done due to Ben Forster's genuine sounding screams of pain, the close-up shots of his bloody back on the screen, and the rising action Alexander Hanson puts into Pilate's voice; going from calm and collected, to what can be interpreted as elation or disgust, to finally his voice breaking with sorrow as the horror of what he's doing to an innocent man becomes clear to him.

** Alexander Hanson's Pilate from the 2012 version is arguably the most tragic due to how restrained he is for much of the play. While most other performances have Pilate as somewhat hammy Hanson's mostly seems unperturbed by Jesus' presence. It's only during ''Trial before Pilate'' that Jesus' vague answers and the crowd baying for his blood get to him, making his screaming Jesus' sentence that much more impactful compared to his earlier demeanour.

** The 2012's version is also exceptionally done due to Ben Forster's genuine sounding screams of pain, the close up shots of his bloody back on the screen, and the rising action Alexander Hanson puts into Pilate's voice; going from calm and collected, to what can be interpreted as elation or disgust, to his voice breaking as the horror of what he's doing to an innocent man becomes clear to him.

* The sheer regret and misery in Judas's voice during the "Every time I look at you, I don't understand..." bit of "The Last Supper" in the 1973 film. It is painfully clear that he does not want to betray Jesus, and Carl Anderson sounds as if he might break into tears.

** Peter Johansson's version from the 2014 Swedish arena tour is devestating, as Judas breaks down in tears and huddles on the ground, audibly sobbing. The look on his face as he goes to hang himself is one of utter despair.

* The live TV concert's Crucifixion is GUT WRENCHING. Judas and the entire chorus that belted out "Superstar" seconds before, stand transfixed and mortified as John Legend's blood-soaked Jesus appears, shuddering and writhing as off-screen hecklers cackle at his suffering. He wails his final words (Father, forgive them... where is my mother... my God, I'm so thirsty...) Then, when "IT IS FINISHED!" the music blares and the lights strobe, and he chokes out the climactic "Father, into your hands... I commend my spirit." Then his head drops. Before you have time to catch a breath, a somber, devastated-sounding reprise of "Gethsemane" pipes in as the crucifix ascends. The set background parts to form a cross of blue light, and Jesus is pulled backward out of sight, metaphorically denying the audience the catharsis of the Resurrection as it closes up again, yet at the same time suggesting that Jesus returns to the light through the bright light that emerges from the cross-like background. It is one of the most hauntingly beautiful, tragic yet also bittersweet stagings of Jesus' death ever.

* The live TV concert's Crucifixion is GUT WRENCHING. Judas and the entire chorus that belted out "Superstar" seconds before, stand transfixed and mortified as John Legend's blood-soaked Jesus appears, shuddering and writhing as off-screen hecklers cackle at his suffering. He wails his final words (Father, forgive them... where is my mother... my God, I'm so thirsty...) Then, when "IT IS FINISHED!" the music blares and the lights strobe, and he chokes out the climactic "Father, into your hands... I commend my spirit." Then his head drops. Before you have time to catch a breath, a somber, devastated-sounding reprise of "Gethsemane" pipes in as the crucifix ascends. The set background parts to form a cross of blue light, and Jesus is pulled backward out of sight, metaphorically denying the audience the catharsis of the Resurrection as it closes up again. It is one of the most hauntingly beautiful and tragic stagings of Jesus' death ever.

* The lashing scene in the Oper Bonn/Oper Dortmund production, a FanDisservice and TearJerker rolled into one. Shirtless Mark Seibert (Jesus)? Yum. Shirtless Jesus being whipped and screaming out with each lash, and then toppling over to reveal a bloody, mangled back? Not."

* The lashing scene in the Oper Bonn/Oper Dortmund production, a FanDisservice and TearJerker rolled into one. Shirtless Mark Seibert (Jesus)? Yum. Shirtless Jesus being whipped and screaming out with each lash, and then toppling over to reveal a bloody, mangled back? Not.

* In the 2018 live television concert, Judas breaks down weeping during his reprise of "I Don't Know How to Love Him."