Photos provided by Todd Rosenberg Photography

With attention mounting for a year, enhanced by a televised version starring John Legend, Sara Bareilles and Alice Cooper, all of Chicago knew “Jesus Christ Superstar” was coming as part of the esteemed Broadway At Lyric series. But the question was whether or not the Lyric Opera House was ready for Timothy Sheader’s London production of Andrew Lloyd Webber and Tim Rice’s heavily revised gospel dipped in rock opera razzle dazzle with the amplifiers cranked up well past 11?

Visually, “Jesus Christ Superstar” doesn’t really rotate through a ton of sets, but the massive stage is frequently filled with over 80 artists, more than 150 costumes, 90 pounds of confetti per performance and a 37-foot cross!

The answer of course probably depends on perspective and it doesn’t necessarily have to do with religion in this North American premiere that previously won a Olivier Award. In short, this is most definitely not the grandparents’ version “Jesus Christ Superstar,” but rather, a lavish, loud and edgy edition where the clothing runs closer to something from Lululemon as opposed to cloaks and loincloths (except for maybe that one acid trip of a time when King Herod ditches his 28-foot gold cape for his tighty-whities with a sword sticking out the side).

Beyond of that inexplicably inane moment, subscribers and single ticket buyers alike are shown many of the most symbolic moments of Christ’s final week on earth (Palm Sunday, The Last Supper), often times adorned with grand choreography, massive gang choruses, plus Jesus, Peter and Pilate playing guitar, since after all, this is one big ole’ bombastic rock musical. It should be noted that rather than coming from the perspective of the main character (Heath Saunders), “Jesus Christ Superstar” is actually shaped around his disciple Judas (Ryan Shaw), which could be harder to follow for those seeking a more traditional storyline, though it probably won’t make a difference to anyone unaware.

However, audiences of any stripe on opening night likely noticed these key characters seemed more preoccupied with screaming into the microphone at the top of their lungs (and this is coming from a Lollapalooza regular), rather than focusing on betrayal and salvation. If only everyone toned it down to a more natural level, their otherwise obvious talents would’ve probably been more palatable.

Visually, “Jesus Christ Superstar” doesn’t really rotate through a ton of sets, but the massive stage is frequently filled with over 80 artists, more than 150 costumes, 90 pounds of confetti per performance and a 37-foot cross! It’s not going to appeal to everyone, but for those willing to accept the updated production at face value and bring along their earplugs, chances are they’ll at least walk away with stimulated senses and perhaps an elevated level of spiritual curiosity.

“Jesus Christ Superstar” continues at the Lyric Opera House through May 20. For additional details, visit JesusChristSuperstar.com and LyricOpera.org.

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