Jesus Christ Superstar: Difference between revisions

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{{quote|''Every time I look at you I don't understand

...

''Jesus Christ, Jesus Christ! Who are You? What have You sacrificed?

 

 

Depending on the production, the actors and settings in the show are portrayed with blends of modern and biblical-era clothing and motifs, running with the idea of Jesus being a rockstar-like figure (something not always appreciated by the [[Moral Guardians]]), the Apostles being [[New Age Retro Hippie|counter-cultural radicals]], and the Romans dressing in black leather and taking a [[Big Brother Is Watching]] approach to running [[The Empire]]. The 2000 filmed version updates the visual metaphors... specifically, setting it in a modern-day dystopic version of the Roman Empire with Nazi-esque guards, and Jesus' followers appear to be a street gang. Who're seen toting submachine guns and assault rifles at times. The plot is pretty much the same, but with different things emphasized; Annas, for instance, appears in many more scenes than in the '73 version and in a [[Evil Chancellor|very different light]], the [[Ho Yay]] between Judas and Jesus is played up to the point of a [[Love Triangle]] with Mary Magdalene, and some other things.

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* [[Ambiguously Gay]]: Pontius Pilate is mildly campy and "theatrical" in many productions following the original, to the point of [[Flanderization]] when [[Life of Brian|Monty Python]] [[Follow the Leader|did it too]].

** This is probably due to the very flamboyant Barry Dennen, who created the role in the [[Concept Album]], original stage production, and 1973 film.

* [[Ambiguously Jewish]]: The 1973 film plays this up with ''King Herod'' of all people, adding an [[Ambiguously Jewish]] [[Funny Afro|appearance]] (and, [[Ambiguously Gay|arguably]], voice) to his [[You Have to Have Jews|stage-musical style]] [[Out-of-Genre Experience|song]].

** Might count as [[Fridge Brilliance]], as the historical Herod was a thoroughly Romanized client king with connections to the imperial family.

** Somewhat justified in that [[Real Life Writes the Plot|the film was set up as something these several busloads of hippies were putting on for some reason in the middle of the desert]].

* [[Angrish]]: "Don’t believe -- our good -- save Him -- if I could!"

* [[Angry Black Man]]: Simon and Judas in the 1973 version. They have [[No Indoor Voice]].

* [[Because Destiny Says So]]

{{quote|'''Jesus''': You have nothing in your hands. Any power you have comes to you from far beyond. Everything is fixed, ''and you can't change it.''}}

* [[BSOD Song]]: A line from ''Judas' Death'' is the page quote for the trope in question.

* [[Camp]]: Pilate is highly, shall we say, "exaggerated", especially in the 39 lashes.

* [[Darker and Edgier]]: In 1998, Webber said that he wanted to give a new design for the musical, saying that the funky disco and sequined leisure suits were fresh for its time, but he wanted to make it into something the younger people could relate to. When making the 2000 version he wanted it to be grittier and darker than the earlier versions.

* [[Dark Reprise]]: Several. Both "I Don't Know How to Love Him" and "Hosanna" have dark reprises. When Jesus accuses his followers of not caring about him at the end of "What's the Buzz", they answer with "No, you're wrong, how can you say that?" which is set to the same music used later for "Now we've got him, take him to Pilate." And meanwhile "Damned For All Time/Blood Money", which wasn't pleasant to begin with, gets even worse the second time around.

* [[Deadpan Snarker]]: Judas. And ''how''.

* [[Double-Speak]]: It isn't blood money. It's a fee, nothing more. Right, Judas?

* [[Downer Ending]]: The story ends after the crucifixion, so it can seem a bit depressing if you're unfamiliar with the [[The Bible|supplementary materials]].

{{quote|''Then I saw thousands of millions crying for this man''

* [[Epic Rocking]]: "The Last Supper." Also, "Overture", "Heaven on Their Minds", "What's the Buzz/Strange Thing Mystifying", and "Everything's Alright" are all performed as one extremely long song, clocking in at about 17 minutes (!)

* [[Evil Is Hammy]]: Pilate, Caiaphas, Herod, Annas.

* [[Face Palm]]: Judas's reaction to Simon's song in the 2000 version.

** Jesus at the start of Herod's song in the same version.

** Not to mention the apostles in leather pants. And Jesus's tight cargo pants. And the ''entire'' temple scene.

** The 1973 version also has a rare occurrence of male [[Absolute Cleavage]], in the form of Judas' shirt.

* [[Foregone Conclusion]]: It's a [[Passion Play]]. [[It Was His Sled]] territory by default.

** "Could We Start Again, Please?" is often mistaken for one of these by fans of the original album. However, it was actually added for the original Broadway production a few years before the movie.

* [[My God, What Have I Done?]]: Hoo boy. Judas does not take this whole betrayal thing well.

* [[No Celebrities Were Harmed]]: Herod in the 2000 version is Florenz Ziegfeld.

* [[No Indoor Voice]]: Judas (in the style of Carl Anderson, at least).

* [[Only Sane Man]]: Judas, at least from his perspective. Likewise, Caiaphas from ''his''.

* [[Original Cast Precedent]]: The high [[Metal Scream]] in almost every version of "Gethsemane"? Not written in the sheet music. Just the basic melody and an ad-libbed note.

* [[Passion Play]]

* [[Prophecy Twist]]

** The finale is simply "Superstar," not "Jesus Christ Superstar."

* [[The Resenter]]: Judas

* [[Scenery Porn]]: Norman Jewison ''really'' took advantage of filming in Israel for the first film.

{{quote|'''Pilate''': I see no reason! I find no evil! This man is ''harmless'', so why does he upset you?! He's just misguided! Thinks he's important! But to keep you ''vultures'' happy I will flog him!}}

* [[Shaped Like Itself]]: "You liar! You Judas!"

* [[Silent Credits]]: In the 1973 film. Considering it's a musical, the effect is somewhat unnerving.

* [[Skyward Scream]]: Several, usually combined with [[Epic Rocking]] and [[Milking the Giant Cow]].

* [[Sliding Scale of Idealism Versus Cynicism]]: Depending on the production, the entire message of the play can be changed. The songs and script themselves are just general enough to paint Jesus ''or'' Judas as the protagonist to root for. Jesus can vary between being [[Jesus Was Way Cool|well, a pretty nice guy]], to a snob who's all talk. To this day people still aren't sure whether the play was intended to give a family-friendly Christian story, or whether it was made to cast a more jaded light on it.

* [[Soprano and Gravel]]: Frequently used with Annas and Caiaphas, especially as performed by Kurt Yaghjian and Bob Bingham in the 1973 version.

* [[Stealth Pun]]: Some particularly clever ones.

* [[A Taste of the Lash]]: The 39 lashes... ''in song''.

* [[They Just Don't Get It]]: The entire point of the song "Poor Jerusalem".

* [[Those Two Bad Guys]]: Caiaphas and Annas.

* [[Villainous Breakdown]]: ''Judas' Death''. This is what all other breakdown tropes want to be when they grow up. It is the God of character meltdowns.

* [[Villain Song]]: "This Jesus Must Die" and "King Herod's Song."

* [[Voice Types]]: Jesus, Judas, Simon Zealotes and King Herod are tenors. Mary Magdalene is an alto. Pilate and Peter are baritones. Caiaphas is a bass. Annas is a countertenor, unless you [[Crosscast Role|cross-cast]], in which case s/he is usually a mezzo-soprano.

* [[Well-Intentioned Extremist]]: Jesus ''and'' Judas.

* [[You Can't Fight Fate]]: One of the main themes (along with all the [[Ho Yay]]). Jesus, Judas, Pilate and even Peter struggle to escape the roles that have been written for them, or at least to pass/pin the blame for their part on someone else, but to no avail. God ''will'' have His martyr, His betrayer(s), and His bloody, horrible ending.

 

[[Category:Jesus Christ Superstar]]

[[Category:Music]]