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After playing Jesus Christ thousands of times in productions all over the United States and Canada, Ted Neeley has a lot to say.

It’s been 35 years, after all, that he’s played this mythic character, including the hugely successful 1973 film version of Tim Rice and Andrew Lloyd Weber’s rock opera “Jesus Christ Superstar,” directed by Norman Jewison and shot on location in Israel.

A concept album that was released in 1970, “Superstar” was later mounted on Broadway and the West End of London. The show, which runs through Christ’s rise, betrayal and ascension, was nominated for five Tonys in 1973. Neeley first played the minor part of a leper, then became the understudy for the role of Jesus.

He headlined the first touring production, which that opened in Los Angeles in 1972. (The national tour also starred Carl Anderson and Heather MacRae.)

The film came after that, earning him a Golden Globe nomination for best actor in a musical/comedy (and best newcomer) in 1974.

As Neeley prepares for his Philharmonic Center for the Arts opening on April 1, the 64-year-old actor talked about the power of “Superstar” to change perceptions and his life.

Daily News: In the early ’70s, the film opened up the discussion of religion on college campuses across the nation. What kind of impact did you see with audiences.

Ted Neeley: In my view, it’s really not about religion, but more about a spiritual connection that we all have made. I was raised within a Pentecostal religious framework, but for me it was all dogma. Any social life was through the church. There was a tremendous expectation regarding the concept of the Son of God. He was untouchable. Religion was about the fear of God: There was no compassion in conversations of one human being with another. No one ever related to Jesus as a man, you see.

“Superstar” opened the door to the discussion and has enlightened and changed people’s notions about their conception of Jesus. If you think about it, it was a 1971 world premiere of a Broadway success that was protested vehemently by the community. Every denomination protested the show. Even those who never saw it protested.

When I invited some of the more vocal opponents to the show, they changed their tune and loved it. From 1971, it was considered blasphemy. Now it is looked (at) as a teaching tool.

I have been playing the part worldwide and have seen so many lives influenced positively. There are five generations of families watching the show and equally inspired at different levels. No matter what your background is, it cuts across age, race and religious concepts. Anyone can come to see the show and walk away feeling good about this grand musical celebration.

DN: Has the role personally affected your life?

TN: Most definitely. I love every second of this role. We shot the film in Israel and I met my wife out there in the Negev desert. There is a power and interchange of positive energy on stage every single night. I wish everyone could stand in my place when I do the powerful “Gethsemane” scene. I have an epiphany every night as I am talking to my Father. It is about the trials that we all go through. I can feel the audience feeling it, too. I present the physical, mental and visual essence of Christ. It’s magnificent and I could not be more honored. I am truly

blessed.

DN: What is at the heart of “Jesus Christ Superstar?”

TN: The show deals with the last seven days as seen through the life of Jesus’ friends. He is pulled out of dogmatic language and turned into someone that we can all understand. You see Jesus as a man through the eyes of his associates, the men of his times. It is an intense look at Jesus told though the apostles and the narration of Judas, the high priests and Mary and how their lives were affected by Jesus as a human, not as diety.

We all have moments of doubt. The human aspect makes the piece so exciting. It shows how Pilate and Herod were affected and it has a human element that even children can relate to. It is truly universal.

DN: What about the role of Mary Magdalene?

TN: We sing the songs the same way as in 1971, but the perceptions have changed with the times. The song was written for a complete stranger who asked nothing of her favors. She is there to serve, just to give kindness with no demands. It shows the love of God for us and does not challenge the natural human emotions. The original idea was absolute universal spirituality. If I had been an atheist, I’d be a believer from my experiences and what I’ve observed.

DN: You are an excellent speaker. Do you do speaking engagements?

TN: I address children’s church groups and teach about the real Jesus. I tell them that they, too, can achieve a Christlike experience as they strive to live in love, peace and harmony. The view of the show has gone from the ultimate blasphemy to spiritual Sesame

Street.

I also speak in college theater master classes. I make it clear that I am an actor, a rock-’n’-roll drummer from Texas who can hit the high notes and got very lucky. They ask how they can break into theater and I tell them they have to have talent, education, drive and commitment. One gal followed my suggestions and is now touring with the show and that is a great sense of satisfaction for me.

E-mail Jean Amodea at jean@entertainmentdirect.org