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/ Wednesday, April 13, 2022
Half a Century of ‘Jesus Christ Superstar’ “Superstar” is the most commercially successful adaptation of a biblical story
with deep suspicion for what they considered an irreverent approach, questionable theology and its rock ‘n’ roll-influenced score.
‘Jesus Is Cool’
Though set in the Jerusalem of 2,000 years Henry Bial, University of Kansas ago, the play uses modern language – “Jesus is cool” – and imagery, such as n the days leading up to Easter Sunday, paparazzi following Jesus Christians around the world will through the streets. By participate in retellings of the story of representing Jesus as a the last days of Jesus’ life, from his entry charismatic celebrity whose into Jerusalem to the Last Supper and fame spirals out of control, to his trial, crucifixion and resurrection. “Superstar” offers audiences They may walk the Stations of the Cross a contemporary framework – a processional ritual marking key points in the for understanding the biblical narrative – attend a pageant or simply ancient biblical narrative. gather in church for religious services. The musical’s theology was And some people will view or listen to “Jesus Christ Superstar,” the 1971 rock musical by Andrew troubling for many religious leaders and conservatives. Lloyd Webber and Tim Rice. NBC’s “Jesus Christ “Superstar” is structured Superstar: Live in Concert,” featuring R&B star John Legend in the title role, was first broadcast on similarly to a traditional Christian Passion play, Easter Sunday 2018 and re-aired for Easter 2020. depicting Jesus’ final days. “Superstar” is the most commercially successful But it abruptly ends with the crucifixion, omitting adaptation of a biblical story in Broadway the resurrection that is at the heart of the Easter history, with well over 1,000 performances story – and Christianity itself. What’s more, the play spanning multiple productions. In some ways, hints at a romantic relationship this is unsurprising. Church between Jesus and his supporter reenactments of biblical Mary Magdalene, and gives a scenes were foundational for prominent role to Judas, the the development of Western disciple whom the Gospels say theater, especially the “quem betrayed Jesus – in fact, Judas is “Superstar” quaeritis trope,” a 10th-century arguably the show’s leading man. is the most dialogue that reenacts the Meanwhile, Jewish commercially moment when Jesus’ body is organizations expressed concern successful supposedly discovered missing that the play would inspire adaptation of a from the tomb. Put another way, antisemitism by perpetuating the biblical story in Christians have seen drama as an idea that Jews bear responsibility Broadway history, appropriate way to communicate for the death of Christ. A trio of with well over 1,000 the story of Jesus’ passion and Jewish priests sings “This Jesus performances resurrection for more than a Must Die,” and later pressures a spanning multiple millennium. reluctant Pontius Pilate to have productions. Yet something about Jesus crucified. “Superstar” has always seemed a In 1971, this was a particularly bit improbable, and its depiction sore spot for Jewish-Christian of Holy Week set off controversy relations. The idea that the from the start. Composer Lloyd Jewish people bore collective guilt for killing Jesus Webber has recounted how London producers had long been part of antisemitic rhetoric from initially regarded the project as “the worst idea in Catholic leaders like the Rev. Charles E. Coughlin. history.” Many religious audiences viewed the play
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In fact, it wasn’t until 1965 that the Vatican officially declared, “what happened in [Christ’s] passion cannot be charged against all the Jews, without distinction, then alive, nor against the Jews of today.”
Rock ‘n’ Rebels
Still, most early objections to “Superstar” were driven less by its content and more by its form. The mere idea of turning the Bible into a loud, flashy, rock ‘n’ roll spectacle was often seen as a kind of sacrilege. For such critics, “Jesus Christ Superstar” seemed to pose a threat simply by juxtaposing the sacred narrative of the Bible with the profane atmosphere of the rock concert. Yet half a century after its premiere, the musical no longer generates much controversy. The recognition and appreciation of Jesus’ humanity has gradually become more acceptable among American Christians, though not to the exclusion of his divinity. Compared with earlier generations, Generation X and millennials are less likely to read Scripture, and therefore less likely to be concerned over fine points of theological interpretation. Rock music, meanwhile, is aging along with its fans, while the rise of the American megachurch has blurred the line between rock concert and church service, between celebrities and spiritual leaders. No longer are electric instruments, flashy costumes, spotlights and microphones seen as disrespectful or inconsistent with worship. Perhaps most significantly, today’s audiences, both religious and not, may simply have a greater regard for so-called superstars. For many people in the 1970s, the musical’s comparison of the deification of Christ and the idolatry of a rock star was inherently derogatory, undercutting Jesus’ spiritual significance. Yet today, in an era when Lady Gaga has six times as many Instagram followers as Pope Francis, arguably the title – and the musical itself – reads as a more sincere form of appreciation.
