‘Jesus Christ Superstar” began its life as a rock opera concept album in the ’70s and shifted to the stage after the fact. The experimental aspects of its origins and the complexities of its story were lost in decades of bloated, Easter pageant-like stagings.

Not so with the touring production running for one more night at the Saroyan Theater. This iteration of the iconic musical is rebirthed with a fresh perspective and the frenetic energy of an attractive, athletic, vocally inspired cast. “Jesus Christ Superstar” is once again a young person’s musical.

The story of the last days of Christ’s life, “Jesus Christ Superstar,” is often presented as a religious work glorifying the life and death of Jesus of Nazareth. What can get lost in that approach is the emotional complexity and human frailty of the story. When I first encountered the original cast recording in the 1990s, I was moved by the dueling perspectives of Jesus and Judas as they describe their version of the same tale. I was also convinced that “Jesus Christ Superstar” isn’t intended to be a hagiography of Jesus Christ but is instead about how an unstable society suffering from myriad ills can latch on to a popular (and populist) personality, build it up, and then tear it apart in its frenzied mob-like need to exercise power.

I am pleased to say that this production supports that interpretation.

What worked

The staging and design: This production was conceived in 2016, a few years before the John Legend staged concert, and they share similar approaches to updating the look based on Tom Scutt’s original conceptions. There is no traditional garb here; the ensemble sports street-style athleisure in neutral tones, and Jesus wears high-end trainers. The arena-rock lighting by Lee Curran creates an atmosphere of one part Nine Inch Nails concert and one part megachurch theatricality. This approach takes much of the sanctimony out of the subject and places the human frailty center stage.

The choreography: Drew McOnie’s frenzied, modernist choreography of the ensemble’s growing frenetic and fanatical movement to express the state of mind of Jesus’ followers first, then expanding to encompass the hurt, need, and vicious anger of an entire society turning to mob rule. It offers essential context to the storytelling here.

The theatricality: One of the things that I enjoy about this production is that it doesn’t shy away from some straight-up theatrical moments. Everything from handheld mics and mic stands to glitter and pop snappers tells the story in ways that aren’t literal but are theatrically effective.

The performances: This cast is a deep bench of young talent, clearly relishing this opportunity. Elvie Ellis is one of the most sympathetic Judases I’ve seen, making a compelling case for caution that gets ignored by his leader. Ellis’ performance manages Judas’ inevitable end with tremendous vulnerability. And even so, he nails the two showstopping numbers that open and close the play’s action.

As Jesus, Jack Hopewell is all man-bun and white hoodie, giving off the essence of a celebrity pastor—- that charismatic signal that is deeply attractive but also a little questionable. His characterization steadily deepens with every turn until Jesus fully realizes that circumstances are now beyond his control or influence. Hopewell’s rendition of “Gethsemane” is one of my favorites, grounded in a seeking question while playing his guitar as a form of prayer.

Jaden Dominique’s Mary Magdalen is another standout with “I Don’t Know How to Love Him,” which hangs on a rich but desperate final note that exposes her heart for all to see. In truth, there are so many rich supporting roles in this production that I wish I could devote a paragraph to each of them. Here are a few highlights:

Grant Hodges as Caiphus delivers a deep, if threatening, bass that takes the audience off guard.

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Alex Stone’s Pilate delivers another charismatic, sympathetic “villain” forced by the hands of the mob that Jesus inadvertently created.

Sherrod Brown offers a rousing “Simon Zealotes,” surpassing the prowess of many expert worship pastors.

Alec Diem has the showstopping favorite “Herod’s Song,” carrying off a darkly comic number — and costume — that Ziggy Stardust would envy.

And a shoutout to Reese Spencer, the dancer acting as the “Mob Leader,” whose movement work and indefatigable sorcery seem to compel the play’s pre-destined action like the Holy Spirit’s right hand.

What needs work

The sound: Please insert here the customary complaint about the sound in the Saroyan Theater. While no fault of the cast or production team, it does affect the enjoyment of the play, and so it must be pointed out. Many of the lyrics are muddy in the most crowded scenes, and in the solos, that wonderful, mournful guitar from Jacob McCormick overwhelms the singers. Why can’t we find a way to get better sound and work with the touring companies to achieve it?

Further thoughts

The vibe: Luckily, even with the muddy sound issues, the emotional “vibe” of this “Jesus Christ Superstar” is so overwhelming, so moody, and so very clear that audiences are still moved to silence, shouts, and applause. It seems as though by deflating the bloated religiosity of decades of “JSCs”, this revival has revealed the original emotional arc of the Passion story, showing that Judas’ fear, Jesus’ charisma, and both of their destinies can result in two equally truthful, parallel tales.

Trigger warnings: This production does not shy away from emotional moments depicting suicide, violence, and torture. While not graphic, they can be emotionally challenging to watch. Please be advised, especially if attending with children.

“Jesus Christ Superstar” plays one more night (Jan. 16) at the Saroyan Theater in Fresno and then moves to the Gallo Center for the Arts in Modesto on Jan. 17 & 18.