Canberra Philharmonic Society's Jesus Christ Superstar at Erindale Theatre

Andrew Lloyd Webber and Tim Rice's Biblically-inspired rock musical Jesus Christ Superstar, detailing the final days in the life of Jesus from the imagined point of view of the disciple who betrayed him, Judas Iscariot, is one such perennial. Unlike some shows, such as The Phantom of the Opera, it's a show that lends itself readily to reinterpretation, perhaps because it began as a rock concept album and was determinedly anachronistic from the start.

Jim McMullen, who is directing Canberra Philharmonic Society's new production, says it isn't going to be set in any particular place or period.

"It could be Syria now, anywhere in the Middle East ... It could be anywhere at any time."

The look is predominantly black, to match the largely dark subject matter, he says, and "the costumes are leaning towards the grungy end of the world".

But it's not just about the look. Jesus Christ Superstar also offers a rich musical and dramatic text to interpret.

McMullen says, "We've really tried to explore the tensions in the show - the conflict that rests between Jesus, Judas and Mary [Magdalene] in particular but also the conflicts that exist with Pontius Pilate - the conflicts within himself on the one hand and the conflicts between him, Herod and the priests over who is taking responsibility."

And he sees the show not just as telling the story of Jesus but as examining the power and influence of any charismatic figure or force and the consequences that might result - ISIS, Waco, any number of possibilities.

"What if Jesus lived now with the power of social media and the internet? This is not just as a show about the Bible, not just a show about religion - it is a powerful piece of theatre."

Grant Pegg is playing Jesus for the third time, in his fourth production of the show (he played the priest Annas and understudied Jesus last time).

"I always came to musical theatre as a singer," he says.

His voice, he says, has deepened over time, and so has his interpretation of the role.

"I was 18 when I first played it at the Queensland University of Technology and I approached it in more of a traditional sense."

His Jesus then was a passive figure fulfilling his destiny.

"The second production was five years later when I was 28 - I performed him more angry, less passive."

Now, he says, the role sits more comfortably for him vocally than it ever has before so he can focus more on his performance rather than simply reaching for the notes.

"And in this one I'm 34, closest to Jesus' reported age [33] and the more I listen to the lyrics he is very much in control of his destiny."

In the number Gethsemane, Pegg says, Jesus seems to be alone and engaging more in inner monologue rather than prayer but otherwise he seems largely on top of situations with other people and quite manipulative - echoing McMullen, he thinks Jesus is not merely a passive and saint-like victim.

Those earlier productions, he says, were always located in a specific setting.

"I prefer to see Jesus Christ Superstar not in a fixed time and place - I think it's a timeless story, even though it's telling about a religious figure. Archeologically it's a very interesting story - we see it repeated time and time again throughout history - cult leaders, mass murders, insta-famous people."

He's amused at the way he's been reunited on stage with Huang: "Will and I worked together in Next to Normal as father and son - now we're frenemies!"

Huang says he's been in two previous productions of the show - first as Peter, then as Simon - but Judas is a role he's wanted to play since he heard Jesus Christ Superstar as a boy.

"It was the first rock musical I ever heard - I loved it."

He says, "The thing for me that is very important is making Judas a sympathetic character - I obviously think that's how he's written in the music. I've seen several productions that try to portray him [simply] as the guy who turns Jesus in.

"I want to make it obvious why Judas makes the choices he makes."

He thinks Judas, who's been with Jesus from the beginning, is afraid of where the crusade is going to take everyone.

"He's worried that the idea of Jesus has become bigger than the man."

Judas, Huang says, is afraid Jesus might not be able to control the movement that has sprung up around him and might be putting all their lives at risk.

But Judas is not a charismatic, messianic figure like Jesus and, Huang says, "one of his biggest flaws is jealousy". He's jealous of Mary Magdalene, both of her new influence on Jesus, displacing him to an extent, and because he sees her as creating a distraction from Jesus' original purpose.

Huang says, "The relationship between Judas and Mary is antagonistic in that regard - Judas is at his worst when Mary is around."

Charlotte Gearside says she and McMullen have decided that "for a very, very long time, she's been presented as too softly spoken, a little bit of a wallflower.

"We wanted to give her a lot more strength."

In this version, she says, Mary will stand up for herself. When she finds herself developing strong feelings for Jesus, "She's never experienced it in her life, falling in love with someone - it frightens her."

And Jesus sticks up for her, too, defending her against Judas who, in addition to his other concerns, fears his friend's image will be shattered by his involvement with her.

Two of the other prominent disciples have their own issues. Rhys Madigan plays Simon Zealotes, who in his big number urges Jesus to use his powerful influence to lead an uprising against the Romans.

"He's the one who's most excited about the mission," Madigan says.

"He wants to change the world."

And Patrick Galen-Mules plays the quick-tempered but intensely loyal Peter who learns to accept Jesus' teaching.

"He gets what Jesus is saying - you need to stop fighting ... and follow your belief."

But eventually Peter finds his devotion severely put to the test.

"Everything turns to shit when Jesus is taken away," Galen-Mules says. A terrified Peter denies knowing him three times when various people accuse him - just as Jesus said he would.

"Mary calls him out on it," Galen-Mules says.

He adds, "This is not going to be your traditional Superstar."

While most involved in the show are of lapsed or no religious faith, its musical director, Casey White, is an active Christian - "the only one I know of", he says, in the production. But he's able to reconcile his Pentecostal faith with the show.

As far as Jesus Christ Superstar is concerned, he says, "I take it with a grain of salt as an interpretation of events rather than what is historical."

Musically, he says, "It's going to be vast, with a 22-piece band on stage and 30 in the cast - the sound is going to be a blast.

"From a musical director's point of view it's nice to be marrying a rock band and orchestral stuff in a juxtaposition of styles."

Dramatically, he says, this Jesus Christ Superstar will be a fresh experience for people who've seen previous productions but will also work well for those who are viewing it for the first time. Echoing his colleagues, he says it will bring out such aspects as the tensions between Jesus and Judas and the deep feelings of Mary Magdalene in a way not usually seen.

Jesus Christ Superstar. Music by Andrew Lloyd Webber. Music by Tim Rice. Directed by Jim McMullen. Musical director: Casey White. Choreographers: Courtney Whitcombe and Charlie Gearside. Canberra Philharmonic Society. Erindale Theatre. March 8-24. philo.org.au.