"Jesus Christ, Jesus Christ, Who are you? What have you sacrificed?"

The question had an extra resonance on Friday, August 1, when the Hollywood Bowl kicked off a sold-out three-night run of Jesus Christ Superstar, starring Cynthia Erivo in the titular role that is usually played by a male actor. This concert staging of the Andrew Lloyd Webber-Tim Rice musical didn't alter a single lyric or swap any pronouns. But 55 years after its debut, Erivo's gender-blind take on the Son of God felt refreshing and revelatory. It was as close to a religious experience as a musical theatre performance can get.

The sung-through rock opera, which originated as a concept album in 1970 before its Broadway bow in 1971, is loosely based on the Gospels' accounts of Jesus' last days. Some actors who have since played Jesus leaned into the character's inherent holiness: calm, unbothered, and possessing an inner peace and power that doesn't leave him, even in death.

Erivo's version of the Messiah returned to Lloyd Webber and Rice's original characterization of Jesus: a man caught at the center of widespread celebrity attention and the target of expectations seemingly impossible for any one person to meet. During "The Temple," she was visibly overwhelmed when the sick and poor begged her for miracles—she doesn't extend a hand to save them and instead opts to protect herself. She was also loudly indignant upon seeing merchants in the temple selling bongs, ammunition belts, and BDSM whips, knocking down her microphone stand and yelling in a rage.

And during "Gethsemane (I Only Want to Say)"—in which Jesus, in his only private and unmasked moment in the musical, pleads with God to change his fate—Erivo laid bare her vulnerability and dug deep into every hidden crevice to showcase her character's humanity. Of course, Erivo has previously done this with many vocally demanding musical theatre numbers, like "I'm Here" in The Color Purple and "Defying Gravity" in Wicked. But those were both anthems of self-love and self-empowerment; "Gethsemane" is a monumental cry of doubt and desperation, a five-and-a-half-minute internal struggle and eventual resignation to what's to come.

Wearing a sleeveless white fringed gown, high-top wrestling sneakers, and a cross made of crystals, Erivo delivered the tragic "Gethsemane" while pacing the stage, rocking back and forth and falling to her knees and then her hands, tears welling in her eyes. The audience of 17,500 attendees gave her sublime rendition a mid-show standing ovation of over two minutes, during which she initially remained in character and then briefly put her hand to her chest in gratitude, having just conquered a beloved number that was previously unavailable to her as a female actor.

That this Jesus Christ Superstar was led by two openly queer performers, Erivo opposite Adam Lambert as Judas, was its own event, especially amid the ongoing attacks on queer rights and presidential mandates against the Kennedy Center's "woke" programming. Some lyrics hit differently, like when the Roman leaders repeatedly called Jesus "dangerous" and Judas urged Jesus to be more cautious: "They only need a small excuse to put us all away."

As the traitorous Judas, Lambert simultaneously showcased his signature rock belt and Judas' complex feelings toward Jesus; he often eyed Erivo with a palpable mix of admiration and disdain, and was shaking while accepting stacks of blood money for his betrayal. Vocally, Jesus and Judas' confrontational duets doubled as a vocal diva-off for experts Erivo and Lambert. (Emilio Sosa's costumes were a thoughtful touch, with Lambert's embellished blazers and knee-high platform leather boots being an aesthetic rival to Erivo's airy white fit. Even their nails—Lambert's short and dark, Erivo's long and light—were diametrically opposed.)

Lambert must have felt at home at the Bowl, which director/choreographer Sergio Trujillo transformed into a rock show; the cast sang into handheld mics and were surrounded by risers, trusses, black road cases, and LED screens broadcasting a live feed stylized with pop-concert-inspired filters and graphics. The ensemble, in modern streetwear in muted tones, thrillingly performed Trujillo's muscular choreography. It was a feat made all the more impressive given the run's days-long rehearsal period. The bare-bones staging made liberal use of theatrical smoke and strobe lights—the latter of which signaled each of Jesus' 39 lashings, a fittingly distressing effect paired with a thorn-crowned Erivo, struggling to remain standing from the pain.

Every member of the cast reveled in their character's star moment. Zachary James got numerous cheers whenever he masterfully hit Caiaphas' famously low notes in "This Jesus Must Die." 

Raúl Esparza, who first appeared in a regal purple suit and sleek black loafers, used his strong voice to accentuate Pontius Pilate's performative leadership. And when Pilate succumbed to the mob mentality, the actor was barefoot, wearing a slovenly tank top with his nipple peeking out the entire time—a choice, certainly.

John Stamos—who stepped into the role of King Herod for Josh Gad Friday night, who was recovering from COVID-19—got laughs immediately upon entrance. A wave of gold feathers revealed his shoulder-length wig, gaudy gold suit, and '70s-style sunglasses. Though he only had 36 hours to prepare, Stamos landed the comedic number's wordy punchlines and gamely attempted some intricate blocking. (Gad performed the role on August 2 and 3.)

Then there was the ethereal Phillipa Soo who, as Mary Magdalene, began the show hugging and holding hands with Erivo's Jesus (with notable chemistry, to Judas’ dismay), defending him to Judas and other naysayers. She also infused "I Don't Know How to Love Him" with a slight rocker growl. 

During the "John 19:41" finale, Soo stared down the audience with a damning gaze, as if implicating the public in Jesus' crucifixion and warning us not to let it happen again—an impactful final visual.

Well, not quite final. There was also an appearance from Lloyd Webber at curtain call, as he waved to the audience and embraced the cast onstage. The next day, he posted photos from the performance on social media, with the caption, "I have always thought a woman playing Jesus could be very moving." A divine idea indeed.

*The videos in this article were captured with the permission of the Hollywood Bowl, which allowed phone recordings (though no video cameras) during the show.

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Photos: Jesus Christ Superstar at the Hollywood Bowl Starring Cynthia Erivo, Adam Lambert, More

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