History YMMV / JesusChristSuperstar

** "Gethsemane". Particularly that one high (G5) note on "'''[[InstantSoprano WHYYYYYYY]]''' should I die?", originally a MetalScream that Ian Gillan [[BeamMeUpScotty 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.

** Jesus' HeroicBSOD Song is simply "Gethsemane", not "I Only Want To Say", though it is sometimes called "Gethsemane (I Only Want To Say)".

* VindicatedByHistory: 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 "[[RockMeAsmodeus rock and roll]] [[EveryoneIsSatanInHell 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. 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. Even going into TheNineties, it was not atypical to see churches perform the musical as part of their Easter festivities.

* VindicatedByHistory: 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 "[[RockMeAsmodeus rock and roll]] [[EveryoneIsSatanInHell 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. 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.

** "Gethsemane". Particularly that one high (G5) note on "'''[[InstantSoprano WHYYYYYYY]]''' should I die?", originally a MetalScream that Ian Gillan [[BeamMeUpScotty 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 so 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.

** "Gethsemane". Particularly that one high (G5) note on "'''[[InstantSoprano WHYYYYYYY]]''' should I die?", originally a MetalScream 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 so 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.

** "Gethsemane". Particularly that one high (G5) note on "'''WHY''' should I die", originally a MetalScream that Ian Gillan improvised. So it becomes extra notable when Jesus ''doesn't'' do it that way, like John Legend, and John Farnham in the 1992 harder-sound Australia revival who ''snarls'' the entire line as "Why should '''I''' die?!"

* HamAndCheese: Pilate tends to be played with either this or TranquilFury. 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.

** [[https://www.youtube.com/watch?v=CameSDK-2m8 Here's a supercut of various renditions of the line.]]

* [[SugarWiki/HeReallyCanAct She Really Can Act]]: Former Music/{{Spice Girl|s}} Melanie C. surprised a ''lot'' of people with her powerful-yet-vulnerable [[https://www.youtube.com/watch?v=8azdnR2fQus portrayal of Mary Magdalene]] in the UK Arena Tour.

* WTHCastingAgency: Music/JohnLegend 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.

* HarsherInHindsight: 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.

** Or less awesomely "Looks like a woman and he wears a bra..."

** The bizarre facial expressions made by Simon during [[https://www.youtube.com/watch?v=I3bZqqe_s84 "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..."

* NarmCharm: 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 is an enduring classic.

** Our lord and savior indulging in [[MetalScream 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.

** Jesus' HeroicBSOD Song is simply "Gethsemane," not "I Only Want To Say," though it is sometimes called "Gethsemane (I Only Want To Say)."
** The finale is simply "Superstar," not "Jesus Christ Superstar."

* StrawmanHasAPoint: 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 RealLife, less than fifty years after the Crucifixion, the Jews ''did'' rebel...and got utterly crushed.

* TheyChangedItNowItSucks: 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 TheNewTens restore that line.
* VindicatedByHistory: 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 "[[RockMeAsmodeus rock and roll]] [[EveryoneIsSatanInHell is Satanic]]" era. But over the years, this mindset has cooled down and if anything are happy that they have a somewhat mainstream story about the Passion. 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 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.

* WTHCastingAgency: Creator/JohnLegend 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.

*** You can even see Christ cracking up a little when Simon starts singing in his face. {{Corpsing}}?

** "Gethsemane". Particularly that one high (G5) note on "'''WHY''' should I die", originally a MetalScream that Ian Gillan improvised. So it becomes notable when Jesus ''doesn't'' do it that way, like John Legend, and John Farnham in the 1992 harder-sound Australia revival who ''snarls'' the entire line as "Why should '''I''' die?!"

** "Gethsemane". Particularly that one high (G5) note on "'''WHY''' should I die", originally a MetalScream that Ian Gillan improvised.

* HoYay: Since the focal point of the play is the relationship between Jesus and Judas, some degree of this was inevitable. Naturally, [[DependingOnTheWriter this varies between productions]], and some lean into the brotherly angle of their bond instead. But there are a few stand-out moments in the lyrics and structure of the story themselves that encourage this interpretation:
** Judas is extremely bothered by Jesus's tolerance for letting Mary Magdalene "kiss you and stroke your hair" and consistently picks fights with her when they're both onstage. Thematically, his problem with Mary is that she represents the degradation he perceives Christ as having fallen into, but it's easy to read jealousy into the dynamic.
** In most productions, Judas's ultimate decision to betray Jesus is immediately preceded by him seeing Jesus and Mary go off together.
** Sure, it's biblical, but Judas betraying Christ by kissing him.
** Arguably the strongest moment: when he is at absolute rock bottom, right before his suicide, Judas breaks into a reprise of Mary's "I Don't Know How to Love Him." When Mary sings it, it's implicitly about romantic love. And while Judas's version stops before ''"And I've had so many men before,"'' it concludes with the anguished cry, "Does he love me, too? Does he care for me?"
** The 1973 film has an emotionally charged moment during [[https://www.youtube.com/watch?v=jkje4FiH9Qc Everything's Alright]], with Jesus gently lifting Judas' chin, the two gripping each other's shoulders, and their arms slowly slipping away from each other, until they clasp hands and have several seconds of intense eye contact.
** The 2000 film takes everything UpToEleven:
*** To begin with, ''all'' the apostles are dressed in tight ripped shirts, leather pants, and ''very'' frequently caress and hug each other. Meanwhile the women all wear pretty modest ankle-length dresses and their hair held in a ratty bun.
*** To compare: in the 1973 version Judas's kiss of betrayal is Judas sneaking up from behind, giving Jesus a very quick light peck on the cheek. In the 2000 version, the two are looking each other directly in the eyes while crying. Then Judas gives him a ''deep, long, smooch'' and Jesus responds by briefly wrapping his arms around him before Judas pushes him off.
*** In the 2000 version of "Heaven on Their Minds", Judas pleads to Jesus while they are alone together, with lots of Judas getting into Jesus's personal space, and hesitant, delicate touches to Jesus's bare skin. Compare the 1973 version of "Heaven on Their Minds" which has Judas overlooking the group from a distance and talking to himself.
*** There's also the [[https://www.youtube.com/watch?v=9barYr_IF8s#t=5m39s clinging and crying during "The Last Supper"]].
*** Judas and Mary are explicitly paralleled through their matching costumes -- red shirt/dress with black sleeves/jacket.
** Judas is especially AmbiguouslyGay in the 2012 arena tour, due in large part to Judas actor Creator/TimMinchin's {{camp|straight}} stage persona. And {{guyliner}}.
*** Some of the looks exchanged between Minchin's Judas and Ben Forster's Jesus (or even just glances in the general direction of the other character) could easily be classed as 'longing'.
*** During "The Last Supper," where Jesus and Judas get up in each other's faces and slap each other around, some of the apostles genuinely look as though they're watching a couple have a screaming row.
*** Additionally, this production offers some Caiaphas and Annas (''[[NoYay son-in-law and father-in-law]]'' in the Bible). It's relatively restrained, but there are a few looks shared in quiet moments; most notably, Judas punches Caiaphas in the face, and Annas hands Caiaphas a small towelette to wipe off the blood, giving him a positively throbbing look as he does so. The height disparity (6'6'' Caiaphas v. rather diminutive Annas) and the [[RedOniBlueOni distinct difference in manner]] (Caiaphas blue, Annas red) add to the impression.
** The 2014 Swedish Arena Tour dials up the Ho Yay and [[UpToEleven breaks the knob off]].
*** It starts with Judas singing "Heaven on their Minds" to a sleeping Jesus with lots of longing looks and lingering touches.
*** The kiss with which Judas betrays Jesus is a full-on TheBigDamnKiss: no cheek or forehead kissing here! (The kiss is immediately followed by a hug with the two of them clinging to each other, and Judas looks absolutely devestated to be doing what he's doing as he holds Jesus.)
*** Judas walks in on Jesus and Mary holding each other right after "I Don't Know How to Love Him", and, angered by it, flings them from the swing they're sitting on, helps Jesus up, and grabs his face as if he's trying to pull him in for a kiss. Jesus throws him off and a crushed Judas runs offstage leading into "Damned For All Time", leaving one with the implication that Jesus's rejection is a key factor in Judas's decision to betray him.
** In the 2018 live television production, after Judas delivers the kiss of betrayal and starts to walk away, Jesus grabs him and gives him a long hug, which Judas is surprised by but soon reciprocates. They have to be ''torn apart'' by the guards arresting Jesus.
*** While the Apostles tend to get cuddly in many versions, the 2018 version really dials up the tension between Peter and Jesus. Peter gives Jesus many a longing look while biting his lip, adjusts his coat affectionately after his fight with Jesus, and the two seem very close. Much like other examples with Judas, his expression of hurt when Jesus rebuffs his attempts to rescue him reframes his denial as being the result of some serious rejection-based heartbreak.
** Oper Bonn has Judas touching Jesus' shoulder before tenderly kissing him on the forehead. Jesus turn and sings his line, so that the men's foreheads touch. Later on, two guards have to pull Jesus away from staring at Judas' hanging corpse.
** Some productions include the song "Could We Start Again, Please?", a duet between Mary and Peter... about Jesus. While there aren't any explicitly romantic lines, since it has been previously established that Mary's feelings for Jesus are romantic, the implication that some of Peter and Mary's feelings are the same does have some gay undertones.

* AlternativeCharacterInterpretation: You ''are'' supposed to sympathize with Judas.
** How much you end up sympathising with him 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)
** If he's willingly betraying Jesus, or God is manipulating him, perhaps doing MoreThanMindControl. 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.
** WordOfGod 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 [[AlternativeCharacterInterpretation interesting]].
** 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.
*** Though a similar impression is given in the Bible. That or not wanting to be bossed around. Many, many adaptations have been made over the centuries, in which Judas, Pilate, and/or the Jews have been blamed to a greater or lesser, sometimes very extreme degree.
*** In "The 39 Lashes", Pilate is often depicted as turning more and more discomfited and agitated as he [[PunctuatedPounding counts the lashes out loud]]. In the original album, it seems he counts them out coldly, but the voice doing so is actually Tim Rice's.

** Caiaphas comes across a bit 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).

** The title song, which is sung by Judas's ghost, despite the rest of the play [[MaybeMagicMaybeMundane 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, 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.
* BrokenBase: Either you love the original movie, or you love the 2000 movie. There is no middle ground. Both sides say the other is a vile mockery. [-[[TakeAThirdOption Or you think both are good in their own regards.]]-]

** Alice Cooper as King Herod in the 1996 and 2018 versions, on the basis of-- oh, who are we kidding, he's [[BadassInANiceSuit Alice Cooper]] [[VillainSong as Herod]]!

* EvenBetterSequel: In the sense that it's a followup on ''Theatre/JosephAndTheAmazingTechnicolorDreamcoat''. Although ''Dreamcoat'' is well-loved for being Webber's BreakthroughHit, ''Superstar'' is counted among his masterpieces such as ''Theatre/ThePhantomOfTheOpera'' and ''Theatre/{{CATS}}''.
* FirstInstallmentWins: Fans of the original LP concept album point out that it set the standard for all subsequent versions.

* GeniusBonus: The tanks that chase Judas just before ''Blood Money''? They were ''Centurions''.

** Worth noting is that Pilate's apparent one constant character trait is being out of his depth, and a lot of his characterisation 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.

* HarsherInHindsight: The dig against Music/JohnLennon ("How do we deal with a man [Jesus] who is greater / Than John was when John did his baptism thing?") isn't as funny since he died nine years later.
** ...Only if you choose to make that line about John Lennon and not take it at face value, in which case it would be about John the Baptist. Still could be HarsherInHindsight considering [[IfICantHaveYou what]] [[OffWithHisHead happened]] [[DecapitationPresentation to]] ''him'', but...
** 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...
* SugarWiki/HeartwarmingMoments:
** The 2000 version of "Heaven On Their Minds" has Judas singing directly to Jesus, and having expressions of genuine fear about what the masses will do to his best friend if they "think you've lied". Judas caresses him constantly and hugs him with utmost concern. In the beginning, Jesus even smiles a little when Judas reminds him that he is Jesus's right-hand man and has his interests at heart.
** This staging of [[https://www.youtube.com/watch?v=kOBZcKyFn4w Heaven On Their Minds]] has Jesus hearing all of Judas's song. Rather than Judas approaching him, Jesus walks towards Judas and at one point attempts to reach out and comfort him. The apostles also seem to be worried about Judas when listening to him.
** Judas, in the 2012 and 2018 versions, turns away from Jesus after betraying him with a kiss. While Jesus sings, he pulls Judas in a hug, showing all is forgiven because neither of them could fight fate. When the guards move in to arrest Jesus, Judas returns the hug and holds onto him tightly. His expression is screaming instant regret and trying to protect the friend he just betrayed. The guards have to physically pull Judas off and warn him not to interfere in their arrest.
** The apostles in most versions realize that the soldiers are arresting Jesus after either waking up or recovering from the party. They take up arms in HeroicBystander mode and prepare to attack. In the 2018 version, they actually succeed in fending off the soldiers and try to free Jesus. It's only because Jesus tells them to stand down, that they must not die for him, that they reluctantly obey his orders. That makes it only sadder that he does die as they are ForcedToWatch and helpless.
** Caiphas gives Jesus a chance to defend himself. He explains, sometimes in ApologeticAttacker mode, that this is NothingPersonal; if Jesus claims that he is the son of God then he has committed blasphemy, a serious charge. But he has a chance to deny it and walk free. It's only when Jesus refuses to say yes or no that Caiphas and Annas order the man escorted to Pilate and sentenced to death.
** In the 2018 live production, John Legend as Jesus is a CuddleBug, hugging his various followers and shaking the audience's hands when they reach out. When Judas is singing the last verse of "Heaven on Their Minds" directly to him, Jesus makes full eye contact and actually ''does'' listen. He has an apologetic look, knowing that he can't listen to Judas, due to what's to come.
* HoYay: Since the focal point of the play is the relationship between Jesus and Judas, some degree of this was inevitable. But ''this degree?'' ...
** Naturally, [[DependingOnTheWriter this varies between productions]], and some lean into the brotherly angle of their bond instead. But there are a few stand-out moments in the lyrics and structure of the story themselves that encourage this interpretation:
*** Judas is extremely bothered by Jesus's tolerance for letting Mary Magdalene "kiss you and stroke your hair" and consistently picks fights with her when they're both onstage. Thematically, his problem with Mary is that she represents the degradation he perceives Christ as having fallen into, but it's easy to read jealousy into the dynamic.
*** In most productions, Judas's ultimate decision to betray Jesus is immediately preceded by him seeing Jesus and Mary go off together.
*** Sure, it's biblical, but Judas betraying Christ by kissing him ... I mean.
*** Arguably the strongest moment: when he is at absolute rock bottom, right before his suicide, Judas breaks into a reprise of Mary's "I Don't Know How to Love Him." When Mary sings it, it's implicitly about romantic love. And while Judas's version stops before ''"And I've had so many men before,"'' it concludes with the anguished cry, "Does he love me, too? Does he care for me?"

** Some productions include the song Can We Start Again, Please?, a duet between Mary and Peter... about Jesus. While there aren't any explicitly romantic lines, since it has been previously established that Mary's feelings for Jesus are romantic, the implication that some of Peter and Mary's feelings are the same does have some gay undertones.

* MemeticMutation: A well-known parody. "Jesus Christ... Superstar... [[BadassBiker Burning 'round the corner on a Yamaha!]]"

* {{Narm}}: In the original album, during "Pilate and Christ" when a Roman soldier says "Someone Chrois', king of da Jeeewwwsss" in the Cockney accent.

** NarmCharm: 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 is an enduring classic.

* [[SuspiciouslySimilarSong Suspiciously Similar "Song"]]: The background cacophony in "The Crucifixion" seems heavily inspired by [[Music/TheBeatles "Revolution 9"]], released just a few years prior.
** “What’s The Buzz?” is very similar to the Starman theme from the VideoGame/SuperMarioBros series.

*** 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 AdultFear 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.

* BigLippedAlligatorMoment: King Herod's Song (or at least that's how his number ''usually'' comes across).
** And, in the original movie, that bizarre scene with Judas being chased through the desert by helicopters and tanks.

* WhatAnIdiot: Judas lived under Roman occupation and should have been well aware of the Roman's brutality toward prisoners. Nevertheless, after he betrays Jesus to the authorities, he's genuinely shocked when the Roman guards torture Jesus.
-->'''Judas:''' My God, I saw him! He looked three-quarters dead! And he was so bad I had to turn my head. You beat him so hard that he was bent and lame, and I know who everybody's gonna blame.

** NarmCharm: "King Herod's Song" in the film CrossesTheLineTwice past Narm and goes straight into ridiculously awesome.

* CrossesTheLineTwice: King Herod is a genocidal king, one who ordered the mass-slaughter of Jewish babies, which is why Jesus was born in stable to refugee parents. He also 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.

* HoYay: Judas and Jesus. Oh God, the Judas and Jesus... [[DependingOnTheWriter Depending on the Production]].
** A few of the live productions play up the gentility and respect in their relationship - they're like brothers.
** The 2000 version seemed to do this as blatantly as possible (some would say it was turned UpToEleven). All the apostles wore tight ripped shirts, leather pants, and ''very'' frequently caressed and hugged each other. While the women all wore pretty modest ankle-length dresses and their hair held in a ratty bun.
*** To compare, in the 1973 version Judas's kiss of betrayal is Judas sneaking up from behind, giving Jesus a very quick light peck on the cheek. In the 2000 version, the two are looking each other directly in the eyes while crying. Then Judas gives him a ''deep, long, smooch'' and Jesus responds by briefly wrapping his arms around him before Judas pushes him off.

*** However, the 1973 version has an emotionally charged moment during [[https://www.youtube.com/watch?v=jkje4FiH9Qc Everything's Alright]], with Jesus gently lifting Judas' chin, the two gripping each other's shoulders, and their arms slowly slipping away from each other, until they clasp hands and have several seconds of intense eye contact.
*** And then there's the bit where the last straw before his betrayal was catching Jesus and Mary Magdalene in a compromising position.
** It's also arguable that the 2012 arena tour does this to a greater extent than the 1973 film... Probably not the 2000 one though. Some of the looks exchanged between Tim Minchin's Judas and Ben Forster's Jesus (or even just glances in the general direction of the other character) could easily be classed as 'longing'. Add to that Minchin's heartbreaking reprise of "I Don't Know How To Love Him" during "Judas' Death," and the fact that during "The Last Supper" some of the apostles genuinely look as though they're watching a couple have a screaming row..
*** Caiaphas and Annas, oddly enough (''son-in-law and father-in-law'' in the Bible), also get this in the 2012 production. It's relatively restrained, but there are a few looks shared in quiet moments; most notably, in this production, Judas punches Caiaphas in the face in the "Damned For All Time" section of "Judas' Death", and Annas hands Caiaphas a small towelette to wipe off the blood, giving him a positively throbbing look as he does so. The height disparity (6'6'' Caiaphas v. rather diminutive Annas) and the [[RedOniBlueOni distinct difference in manner]] (Caiaphas blue, Annas red) add to the impression.
** The 2014 Swedish Arena Tour dials up the HoYay and [[UpToEleven breaks the knob off]]. It starts with Judas singing "Heaven on their Minds" to a sleeping Jesus with lots of longing looks and lingering touches. Also, the kiss with which Judas betrays Jesus is a full-on TheBigDamnKiss: no cheek or forehead kissing here! (The kiss is immediately followed by a hug with the two of them clinging to each other, and Judas looks absolutely devestated to be doing what he's doing as he holds Jesus.)

** The 2018 version even gives us ''Pilate/Jesus''. Pilate sounds incredibly anguished - beyond fearing eternal damnation - as he's on his knees, practically begging Jesus to give him a reason to keep the Son of God alive.
** In the 2014 Swedish arena tour, Judas walks in on Jesus and Mary holding each other right after "I Don't Know How to Love Him", and, angered by it, flings them from the swing they're sitting on, helps Jesus up, and grabs his face as if he's trying to pull him in for a kiss. Jesus throws him off and a crushed Judas runs offstage leading into "Damned For All Time", leaving one with the implication that Jesus's rejection is a key factor in Judas's decision to betray him.
** While the Apostles tend to get cuddly in many versions, the 2018 live television version really dials up the tension between Peter and Jesus. Peter gives Jesus many a longing look while biting his lip, adjusts his coat affectionately after his fight with Jesus, and the two seem very close. Much like other examples with Judas, his expression of hurt when Jesus rebuffs his attempts to rescue him reframes his denial as being the result of some serious rejection-based heartbreak.