The Search for a Superstar Jesus
Before Ted Neeley immortalized the role of Jesus with his searing high notes, director Norman Jewison had a wish list filled with the biggest names in music. According to Jewison's own notes, he considered a staggering lineup that included John Lennon,
Paul McCartney, Mick Jagger, Robert Plant of Led Zeppelin, and Barry Gibb of the Bee Gees. The most logical choice seemed to be Ian Gillan, the Deep Purple frontman who sang the role of Jesus on the original 1970 concept album. Jewison formally offered Gillan the part, but the singer ultimately declined, preferring to tour with Deep Purple instead. John Lennon also declined the role when it was offered for the stage production, reportedly only willing to do it if Yoko Ono could play Mary Magdalene. Ultimately, Jewison turned to the stage production, where Ted Neeley had been an understudy. Neeley's powerful performance in a screen test secured him the role that would define his career.
A Judas with Soul
The conflicted, tragic figure of Judas Iscariot is the film's narrative engine. While Carl Anderson’s explosive, soulful performance earned him a Golden Globe nomination and became legendary, he wasn't the initial choice. Like Ted Neeley, Anderson had been an understudy in the Broadway production for Ben Vereen, who originated the role to great acclaim. When Vereen fell ill, Anderson stepped in and made the role his own. Jewison saw the power of Anderson's performance and his on-screen chemistry with Neeley, which became a key reason for casting them both. The director later noted that Anderson's screen test was so powerful there was no doubt he was the right actor for the part. This decision to cast a Black actor in the role was controversial at the time but is now seen as a pivotal and brilliant choice that added layers of social commentary to the film.
Finding Mary Magdalene
Yvonne Elliman's portrayal of Mary Magdalene, and especially her rendition of "I Don't Know How to Love Him," is one of the film's most tender and memorable elements. Unlike the roles of Jesus and Judas, this part was less of a question mark. Elliman had sung the role on the original concept album and also performed it on Broadway. Her connection to the material was deep and proven. While some big names like Raquel Welch were rumored to be in the running for the part, Jewison recognized the strength Elliman brought from her stage experience. Her casting provided a crucial thread of continuity from the album to the stage and finally to the screen, grounding the film with a performance that was already beloved by fans of the musical.
The 'Underground' Ensemble
Jewison's initial fantasy of an all-star cast eventually gave way to a much different, and arguably more effective, vision. He decided he wanted the apostles and the larger ensemble to feel like a raw, underground movement of rock artists, not established celebrities. He specifically sought out little-known singers and performers from the world of rock and theater. For many of them, including leads Neeley and Anderson, Jesus Christ Superstar was their first film credit. This choice to populate the film with fresh faces from the Broadway show and the music scene, rather than Hollywood stars, gave the production its gritty authenticity. The cast, described as a troupe of performers arriving on a bus in the Israeli desert, brought a raw, theatrical energy that perfectly matched the film's aesthetic.
