Jesus Christ Superstar
Jesus Christ Superstar (1973) is a rock-opera that retells Jesus’ last week of life. It is told mainly from the perspective of Judas Iscariot, whom lyricist Tim Rice had a fascination with since he was in school (Roberts, 2023). Through rock and roll music, the story of Judas’ growing distrust and his betrayal at the last supper, Jesus’ arrest and trial, then his crucifixion. It is the most commercially successful adaptation of the Bible in Broadway history (Bial, 2015)
Much like Bial’s acknowledgements of reimagining identities from the past, Jesus Christ Superstar ‘s Tim Rice was quoted when talking about the show, "We need to humanize Christ, because for me, I find Jesus as portrayed in the Gospels as a God as a very unrealistic figure… The same is true, on the other hand, for Judas who is portrayed just as a sort of cardboard cut-out figure of evil" (Miller, 2003). However, Jesus Christ Superstar was plagued with controversy during its original release in 1971. Protests took place outside of the theatre every single night. Graham MacDonald (2023) writes, “Many Christians felt that there was an implied romantic relationship between Jesus and Mary Magdalene in the story. Others were upset by the show's sympathetic view of Judas, and some felt that the story was denying Jesus' divinity by portraying him as doubtful, fearful and, at times, angry”. Many had a view that simply the use of rock and roll music is explicitly linked to antireligious or anti-Christian practices, posing a threat to Christian decency (Bial, 2015).
Bial (2015) points to a 3-part definition of the word adaptation created by Linda Hutcheon. This definition includes adaptation as a product, meaning a change of medium, a process of creation, meaning an activity where the adaptor must interpret the create their version of the source, and a process of reception, where the audience interprets the adaptation and contextualizes it. Bial, in response, states that this often haunts the theatre. He theorizes that it is because there are two ongoing levels of adaptation. First the playwriter will adapt the story into a dramatic script, then directors and actors interpret this into their production of the story. Together, Bial concludes that playwriters and actors may feel as if they are providing a true adaptation, while audiences and critics are receiving and interpreting an entirely different story.
This certainly rang true for lead actor Tim Neeley who stated in an interview “Our production company said, no matter what they [protestors] may say to you, don't say anything, because they might punch you right in the face. So we were silent… I was so proud to be in something that was all about spirituality and I knew exactly what the story was with the lyrics of the songs … I was feeling so good that we could spread spirituality to people through music and celebration” (MacDonald, 2023) despite the backlash received. A fandom eventually grew so large and intensely for Neeley that some fans were referring to Neeley as “their Jesus”. It is so notable that religious theorists have explored whether this was a normal case of celebrity worship, or if Tim Neeley had truly embodied Jesus for some fans. Interestingly, two-thirds of his fans in the study didn’t associate themselves with any religious congregation but stated that the Christian story as depicted in Jesus Christ Superstar provides some “much-needed counterbalance and authenticity that lacks in institutionalized churches”. The outcome of this research saw that Tim Neeley had indeed heavily influenced the way audiences see Jesus and he has been perceived to be the one actor who has given Jesus the human face that his fandom appreciates (Roeland, J. & IJzerman, J., 2019). Over the last five decades, the recognition and appreciation of Jesus’s humanity has gradually become more acceptable among Christians, and Jesus Christ Superstar no longer creates the same controversy it once did (Bial, 2015).
References:
Bial, H. (2015). Playing God: The Bible on the Broadway Stage. University of Michigan Press.
Jewison, N. (Director). (1973). Jesus Christ Superstar [Film]. Universal Pictures.
MacDonald, G. (2023). Ted Neeley reflects on 50 years of 'Jesus Christ Superstar'. CBC. Retrieved March 11, 2025, from https://www.cbc.ca/radio/tapestry/ted-neeley-jesus-christ-superstar-50th-anniversary-1.7007717
Miller, S. (2003). Inside Jesus Christ Superstar. In Sex, drugs, rock & roll, and musicals. New Line Theatre. Retrieved March 10, 2025, from https://www.newlinetheatre.com/jcschapter.html
Roberts, D. (2023). 'It seemed very daring at the time – and it was.' Music Business Worldwide. https://www.musicbusinessworldwide.com/it-seemed-very-daring-at-the-time-and-it-was1/
Roeland, J., & IJzerman, J. (2019). What’s the Buzz? Celebrity Worship and Fandom Experiences of Ted Neeley (Jesus Christ Superstar). International Journal of Practical Theology, 23(1), 57–77. https://doi.org/10.1515/ijpt-2018-0013
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