In composer Andrew Lloyd Webber and lyricist Tim Rice's rock musical "Jesus Christ Superstar," Jesus is merely a man whose rebellion against the authorities causes his downfall. Judas is a sympathetic character who warns Jesus against believing his own hype, and the crucifixion is a resurrection-less finality.

These factors, so controversial when the show opened on Broadway in 1971, now are readily accepted. Today, protests come only when customers can't get tickets, a likely situation for North Carolina Theatre's impressive current production.

The show began as a concept album, so the emphasis has always been on musical and vocal elements. Luckily, this is where NCT's production shines the most. At Sunday's matinee, the leads sang with such gripping intensity one feared they would have no voices left for the rest of the run.

But these are seasoned Broadway professionals, confident in their talents and abilities. Eric Kunze's firm, smooth tone gives Jesus' emotions full vent, from the frustration in "What's the Buzz" to the tenderness of "Poor Jerusalem" and the anguish of "Gethsemane," a showstopper of mesmerizing power.

Ray Walker's bright, tightly wound vocals bring an appropriate edge to Judas' protestations, culminating in riveting performances of "Damned for All Time" and his death scene. As Mary Magdalene, Brandi Chavonne Massey fills "I Don't Know How to Love Him" and "Could We Start Again, Please?" with attractive warmth and richness. All three assume the audience knows the music, allowing them to vary the rhythms and melodic lines with intriguing individuality.

The rest of the cast is equally strong vocally, with fine contributions from Glenn Seven Allen (Pilate), Elmore James (Caiaphas), Jason Wooten (Simon) and Daniel C. Levine (Peter).

Edward G. Robinson leads an expert electronic-based orchestra tempered with strings and woodwinds, housed out of sight underneath the stage (the pit is used as an additional stage). It is not too loudly amplified, allowing all the singers' lyrics to be heard distinctly.

There are many arresting visuals, including creative use of smoke and fog. The sets and costumes from Houston's Theatre Under the Stars are nicely understated, but with several surprises, especially in Judas' death and the crucifixion. John Bartenstein's dramatic lighting is a major factor in the show's success.

Director/choreographer Greg Ganakas keeps the storyline clear, even in the many crowd scenes, using the full stage, pit and auditorium aisles to maximum effect. The show has an admirable grandeur, diminished only by some stereotypical musical comedy dance sequences.

Also, the big solos need more variety; the performers often make slow, grand circles around the stage, diminishing the focus of their songs. Some scenes lack dramatic tension, several with Judas require more concentrated power and presence.

But these are small blemishes on an extremely satisfying production, fulfilling NCT's mission to present the best of Broadway by Broadway-level talent.