A super show with a cast full of stars
But if you think that time might have taken its toll on either the music or the plot then you would be mistaken.
The show still boasts an impressive clutch of catchy melodies. There's the instantly recognisable Superstar anthem and the spine-tingling Gethsemane for starters; they still weave their magic despite the passing of three decades since they were first penned.
Of course, JCS is not a happy story. One of the early songs, This Jesus Must Die, gives the game away, leaving you in no doubt as to where the Gospel According To Rice And Webber is heading.
As Judas tells us, things have got out of hand and, tormented though he might be, he is driven to bring about the downfall of the person he once cherished.
As the story moves towards its inevitable conclusion the audience is subjected to moments of real menace, with Ciaphas and his black-cloaked priests, leather-clad stormtroopers taking the place of Roman soldiers, and a harrowing crucifixion scene.
But it's not all macabre brutality. There are moments of vibrant colour, as with the spectacular lightning-fast scene change to the temple marketplace.
Past productions of JCS have always suffered from the fact that, while the main protagonists are playing out their scene, the 12 apostles are left with a spacious stage and no way to fill it. Lost for something meaningful to do, they continually wander around giving each other hugs and backslaps, involve themselves in animated dialogue, and clamber around on the scenery for no apparent reason.
However, with this production the team has tightened up the choreography, though there are still distracting moments where, enraged at the way Jesus is being treated, they take part in pointless mock "hold me back" fights, lunging half-heartedly at priests and soldiers.
There have been many performers who have had a crack at playing Jesus, but few have portrayed the broken Messiah as well as Arvid Larsen.
And numerous performers have played Judas, but in this production Mark O'Malley demonstrates how it should be done. His performance is rich in conviction and passion. From his electrifying opening number Heaven On Their Minds the audience is transfixed - and remains that way. Cat Simmons is enchanting as Mary Magdalene, bringing a touch of real tenderness.
And there are some real flashes of talent from other members of the cast - just watch Peter, played by Alexander Lycke.
What little light relief there is comes in the form of King Herod's Las Vegas-style palace; but the smiles don't last long. The poignant Could We Start Again Please? is played out against a shadowy stage, metal bars, and the slow-motion blow-by-blow beating of Christ.
While the audience is still reeling from that, Judas is back as a flashy, bespangled TV presenter. On-stage cameras relay every grim detail of the crucifixion on to an overhead video screen, turning the whole thing into a big, brash, TV spectacular.
It's a must-see show, but don't expect a joyful version of The Greatest Story Ever Told. Uplifting, and at the same time deeply disturbing, this one will leave you thinking.
The Scotsman Publications Ltd