*Controversy has often reared its crown of thorns head throughout the history of “Jesus Christ Superstar,” since Andrew Lloyd Weber & Tim Rice’s rock opera’s humble October 1970 debut as a double album concept record.
The story imagines the final 3 days of Jesus’ life and the burning question of whether he was merely a man or the son of God. One year later, October 12, 1971– following the Billboard chart-topping runaway success of the recording – the first performance of “JCS” happened on Broadway at the Mark Hellinger Theater.
It went on to have an initial 8-year run in London, hundreds of authorized and unauthorized productions around the world, an epic 35-millimeter Technicolor film in 1973 (starring Ted Neeley as “Jesus,” Yvonne Elliman from the original recording as “Mary” and Carl Anderson as “Judas,” a role he shared back and forth with Ben Vereen on Broadway). Recently on Easter Sunday 2018, a live NBC television extravaganza starred crossover Soul-Pop star John Legend portraying Jesus and Goth Rock pioneer Alice Cooper as the colorful “King Herod.” These represent merely a fraction of the stagings that have taken place over the last 50+ years of the tirelessly popular musical’s history.
Fittingly, on Friday, August 1, 2025, another high-profile/all-star stage production of “JCS” debuted at the Hollywood Bowl for a 3-night weekend run. Presented as part of the venue’s annual summer feature ‘Broadway at The Bowl,’ it became the most coveted ticket of the season, selling out all three nights of The Bowl’s 17,500 seating capacity (with some patrons attending all or multiple nights).
The big draw was the controversial casting of Black British Tony, Emmy, and Grammy Award-winning actress/singer Cynthia Erivo in the role of “Jesus,” and LGBTQ+ trailblazer singer-songwriter Adam Lambert as “Judas.” Though the stars were truly an odd couple on stage with Lambert standing at 6’1” and Erivo a full foot shorter at 5’1”, they largely did not disappoint, thrilling an audience filled with many fans’ intimate with the work, they could sing/recite the entire musical in their sleep.
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What follows is a short overview of highlights and perspectives on the opening night performance.
Straight out of the gate, Adam Lambert was a force as “Judas Iscariot” from the opening number “Heaven On Their Minds” through the rockers “Damned For All Time/Blood Money,” “Judas’ Death” and the musical’s titular hit “Superstar.” Belting for the back rows often with soulful ad libs and vocal runs, he teetered precariously between spot on passion and occasional overkill. With his character being one who spends the musical perplexed and/or perturbed, his singing choices ultimately landed in all the right places.
As a gay black woman portraying Jesus, Erivo truly had her hands full. Vocally, she brought a feminine strength to the role that did not try to interpret what had long been written for a man to sing. This writer’s one criticism for her had more to do with staging and blocking.
Her demeanor as “Jesus” seemed in parts like a deer in headlights – especially during the pivotal scene in “The Temple” when beggars and lepers were pulling her every which way for healing, she never appeared to be trying to bless anyone. It’s a shame because as for the dancers singing as the crowd, it was one of the play’s finest displays of choreography. On the other hand, when she was being praised by the crowds in “What’s The Buzz” and “Hosanna,” she floated through the adulation, never fully embracing even the soft swagger the son of God might embody.
Erivo was strongest in the second act during “The Last Supper,” followed by the tour de force “Gethsemane (I Only Want to Say)” during which Jesus begins to doubt wanting to go through with the crucifixion prophecy at hand. Erivo received a 2-minute standing ovation for this show-stopper that tore the hearts out of all.
Other standouts were Raul Esparza as “Pontius Pilate” and basso profundo Zachary James leading his black leather-clad council as “Caiaphas” whose presentation also benefitted from a dramatic use of a hologram-like effect. Tyrone Huntley as “Simon” who gets one exuberant number in “Simon Zealotes” was also an effortless standout. (Note: He was also the understudy for “Jesus” if needed).
Phillipa Soo as “Mary Magdalene” with the featured songs “I Don’t Know How To Love Him” and “Could We Start Again, Please” (a non-original song to the play added for the film but included here) was solid though not spectacular, as was Milo Manheim as “Peter.” This could also be because their characters are far more lowkey in general and especially so next to the firepower from tonight’s leads.
John Stamos, an 11th hour replacement for Josh Gad in the role of zany/campy “King Herod” was the one character that could have stood more zeal.
Composer Andrew Lloyd Webber was in the wings watching all night and Erivo brought him out to the stage as a surprise met with a rousing standing ovation.
Though this once in a lifetime happening curiously was not professionally captured on film for posterity, tons of camera phone footage immediately deluged YouTube from all three nights. Anyone wishing to witness highlights for themselves can easily peruse the digital internet samples.
As a rock opera with full staging, costumes and lighting yet sung as a concert with the leads using handheld microphones, it was a little challenging to sustain one’s level of belief. Yet the power of the piece and these all-star players made it a winning left-of-center night of musical theater under the stars – for newcomers and veteran fans alike.
– A. Scott Galloway (ascottgalloway.net)
(All Photos by Farah Sosa for L.A. Phil)
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