This 1971 rock opera by Andrew Lloyd Webber and Tim Rice has always been controversial due to its subject matter.  That’s not the problem I have with this show. Mostly, the whole production seems rushed. The audience members (and the cast) can hardly catch their breath. I have loved the music from this show for 30 years, but I don’t even remember hearing the songs I loved because they are all mushed together in rapid succession.

Jesus Christ Superstar chronicles the story of Jesus from Palm Sunday through the crucifixion, as seen through the eyes of his disciple, Judas Iscariot, who has become disillusioned with the movement. Long story short, Judas sells Jesus down the river. He believes that Jesus has lost control of his followers, has become dangerous and must be stopped. He goes to the priests and gives them the information they need to catch Jesus and take him prisoner. Jesus is arrested, flogged, convicted and crucified.

Usually, even if I don’t like a particular show, I can find some aspects of the production worth recommending. Unfortunately, I can’t find many of those about this presentation. Personally, I found it not only not good---but in many ways offensive.

Three people dressed in skimpy black leather underwear (called Judas’ Tormentors) cavort erotically around the stage and simulate various sexual acts.  Add to that a drag queen King Herod and a Judas as Elvis (literally in one scene).

The ensemble is frequently out of sync (with each other and the music). Almost everyone overacts.  And that’s just an overview.

Throughout Act One the music sounds pre-recorded and too loud.  It overpowers the singers, causing many of them to screech (particularly Victoria Matlock as Mary Magdalene, who otherwise displayed a lovely singing voice). Somehow in Act Two, live musicians seem to be heard offstage and the musical balance improves significantly.

I wish I could say a lot else improves from Act One to Act Two, but that isn’t the case. The acting becomes more maudlin and the production veers farther off course.

Mostly this show is confusing; confusing in the way it is staged and confusing in the lack of continuity. The show opens with a few characters on stage representing a film crew in 1970. All of a sudden, they disappear (never to be seen again).

Many characters look uncomfortable on stage; maybe we can assume that’s because they are wearing some of the worst wigs (and beards) I have ever seen on the MSMT stage.

The apostles look like crazed hippies.  When Jesus gets lifted in a Mosh pit (passed over head through a crowd) I wanted to laugh out loud---and not in a good way. After being in ancient times for most of the action (other than the few confusing minutes that open the show) in the penultimate scene, the production inexplicably jumps to 1970 with Judas (as Elvis), the Soul Girls and Herod and Pontius Pilate in business suits.  If you’re confused, don’t worry.  So was I and I was there.

On a positive note, Larry Alan Coke gives an impressive performance as the deep-voiced Caiaphas. Victoria Matlock (Mary Magdalene) displays a wonderfully powerful voice when she isn’t fighting the music.

Chan Harris starts off sympathetically as Judas, but falls into melodramatic overacting. Gregg Goodbrod looks the part of Jesus, but lacks range and always seems to be in the exact same emotional space.

The sound is occasionally harsh and often muddy; hopefully that can be fixed. My advice: if you go to Jesus Christ Superstar, go with an open mind.

The sacrificial lamb in this Jesus tale just might be the audience.