For every version that rolls out, “Jesus Christ Superstar” merits accusations of blasphemy. The latest version, performed in early August at the Hollywood Bowl, is no exception.

But this blasphemous rock opera should also receive criticism for its artistic failure. Not surprisingly, it gets resounding praise instead, lauded for its uneven, wild, challenging nature. “It’s revolutionary. A masterpiece.”

But it’s not revolutionary. It’s already been done. And no, casting a black lesbian as Jesus and a drag queen as Judas doesn’t make it any more revolutionary than when it came out in the 1970s.

Now it’s just on a stage that looks like they forgot to set it, filled with poorly costumed actors and distracting fake fingernails. It’s deconstruction at its finest, an icon of postmodernity demon

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