Kushnier, whose work was formidably intense, rich and complex for the work of an understudy, does not come with the same Goth intensity as Young's more sensual Judas, pushing the disloyal Apostle more toward personal panic than besotted manipulation. Both approaches have their strengths and so does Chilina Kennedy's earnest Mary, even if her work seems less central and layered than it did in Canada. But by eschewing any shades of folk or billowy sweetness in favor of an all-consuming need for Jesus' attention, she nails the famous ballads, “I Don't Know How to Love Him” and “Could We Start Again Please?” which is what people want from her the most in the theater and are the two most common questions people ask of Jesus in the world outside.