Luis Fonsi brought down the house at Clive Davis ’ Grammy party Saturday, performing his infectious hit “Despacito.”

I hear that among the VIPs impressed with Fonsi’s vocal chops and stage charisma was Andrew Lloyd Webber, who’s looking for a Judas for NBC’s upcoming broadcast of “Jesus Christ Superstar Live in Concert.”

John Legend will be singing the title role. Sara Bareilles, now playing to sold-out houses in her Broadway show “Waitress,” has signed up for Mary Magdalene. And, in an inspired bit of casting, Alice Cooper, 69, should make for an imperious — and scary — King Herod, ruler of Judea. (Cooper sang Herod on the 1996 soundtrack album with the London cast.)

But so far there’s no Judas Iscariot. And it’s a big part. Judas’ songs include “Heaven on Their Minds,” “Damned for All Time” and “Superstar.”

Ben Vereen famously originated the role on Broadway in 1971. Others who’ve played history’s greatest betrayer include Josh Young, in a 2012 Broadway revival, and Tim Minchin, the “Matilda” songwriter who was sensational in a production that toured Australia a few years ago.

The role calls for a tenor.

Lloyd Webber caught Fonsi twice last weekend — at Davis’ party and the next night on the Grammys. Though Fonsi and “Despacito” lost to Bruno Mars and “That’s What I Like,” the Grammy crowd clearly liked him and his song.

And he’s got a huge young fan base that would surely tune in to see him as Judas.

I saw him at Davis’ party, and I think he’d be terrific. I don’t know if he can act — his credits in that department are a little thin. But director David Leveaux, a Broadway vet, should be able to coax a competent performance out of him. And there’s no doubt he can handle a rock score.

“Jesus Christ Superstar Live in Concert” airs April 1, Easter Sunday. The show will be performed in front of a live audience at the Marcy Armory in Williamsburg. Lloyd Webber and Tim Rice, who wrote the lyrics, will be in the audience.

Another part Fonsi might play one day is Che in Lloyd Webber and Rice’s “Evita.” The show marks 40 years since its original Broadway production next year, and I hear rumbles that there may be a big concert bash, probably at an NYC theater.

Patti LuPone gave “Evita” a huge lift at the Grammys, stopping the show with her rendition — in the original key, if you please — of “Don’t Cry for Me Argentina.”

All those bands that were jumping up and down to bells and whistles and flashing lights could learn a thing or two from a performer who mesmerized Madison Square Garden with only her pipes and her acting.

She will surely be part of a 40th anniversary concert. And if Fonsi doesn’t make the cut, I have to say that Mars was looking very Che-ish on Grammy night in those sunglasses.

Give him a beret and cigar, and — voilà! — you’ve got “A New Argentina.”

Broadway’s powerbrokers descended on the Fontainebleau Hotel in Miami Beach this week for the Broadway Across America conference.

BAA, as the company is called, owns theaters all over the country and invests in most Broadway productions. The conference, packed with Tony voters, is a showcase for the new crop of plays and musicals.

Tina Fey charmed everybody at a panel for “Mean Girls,” which starts previews March 12 at the August Wilson Theatre.

“She’s playing the Tony game very well,” a source says.

Robert Lopez and Kristen Anderson-Lopez performed some new songs for the upcoming stage version of Disney’s “Frozen,” a subtle reminder that much of the score is new, so it should be made eligible for a Tony Award.

And, courtesy of “Summer: The Donna Summer Musical,” there was a dinner and a disco party at the Fontainebleau on Wednesday night.

Robert Wankel, the president of the Shubert Organization, and Paul Libin, who just retired from Jujamcyn Theaters, were busting some Tony Manero moves to “Bad Girls.”

If anyone has pictures, please send them my way.

Keep your eye on “Goldstein,” by songwriter Michael Roberts and playwright Charlie Schulman. The title character of this new musical writes a tell-all memoir about his family. It becomes a best seller but then the family turns on him, claiming much of the book is a lie.

Like “Rags” mixed with a touch of “Fiddler on the Roof,” “Goldstein” covers 90 years of the Jewish immigrant experience in New York. It begins performances in March at the Actors Temple Theatre.