Decades later, Ted Neely, original star of the movie version of Jesus Christ Superstar, is still playing the title role in the national tour of the show, performed this weekend at Wolf Trap. From the moment he steps on stage, it's clear the man is more than comfortable in the robes he's been donning for years. But his portrayal of Jesus starts off a little subdued, his voice a bit more traditional musical theater than raw, unhinged rocker. One starts to wonder if Neely has mellowed in time, and whether he can muster the fire, magnetism and soaring, soprano-reaching vocals he once had.

Then he enters the temple, overrun by vendors, and all doubts are laid to rest. Neely tears the place apart, all guttural screams and corresponding high notes. From that point forward, we're treated to a satisfyingly complicated portrayal of Jesus, a man by turns overwhelmed by his miracle-making abilities, dismayed by the disappointments from his followers, angry and finally resigned to the task his father has asked of him. All these elements culminate in Neely's masterful performance of “Gethsemane,” the devastating ballad Jesus sings to God, begging him to explain why he needs to sacrifice himself.

While Andrew Lloyd Webber and Tim Rice's Superstar can occasionally show its age in by its lyrical references and 70s feel, its infectious rock opera melodies and the complex way it treats its iconic characters awards it longevity. Pontius Pilate (a heartbreaking Craig Sculli) is wholly pitiable; a sympathetic Judas (Corey Glover) is driven more by skepticism and political fear than personal greed. The real villians in this story are the Roman guards, and leaders Annas (a sniveling Jermey Pasha) and Caiphas (Darrel R. Whitney, his bass reaching sinister-sounding depths) are deliciously evil.

Glover, formerly of Living Colour, is every bit the rock star as Judas, and he delivers a rousing version of the showstopper "Superstar," but while the character can frequently be the work's focal point, he doesn't have quite the presence to compete with the incomparable Neely. Tiffini Dodson is a throaty yet cherubic Mary Magdelene. As King Herod, Aaron Fuksa provides the necessary comic relief the role requires, though his ad libs with his crew of chorus girls feel a bit forced.

This production is a rather traditional take on the musical, which is a refreshing change from more recent versions which have incorporated everything from S&M style costuming to contemporary war references. Wolf Trap does a particularly fine job with lighting, handily capturing everything from a clear night sky to a striking sunburst. While the venue could easily lend itself to a more concert-style version of the work, we're nonetheless treated to some interesting staging decisions, such as the way an oozing, rippling mob of lepers attempts to overrun Jesus.

One key directorial choice of this show, however, seems a misstep from its authors' intent. Webber and Rice's work notably never included a resurrection scene. Here, after Jesus expires on the cross – Neely's suffering is riveting – he ultimately rises into the rafters above. While undoubtedly a more uplifting way to end the show, the move feels forced; part of the power of Superstar is its decision to focus on the man rather than the God. This conclusion, for all its intentions, doesn't have faith in faith to do the rest.

Jesus Christ Superstar runs through Sunday at Wolf Trap. Tickets are available online.