‘Superstar’ season opens

Press, Volume CXV, Issue 33963, 2 October 1975, Page 16

‘Superstar’ season opens

“Jesus Christ Superstar." the rock opera telling of the death, but not the resurrection of Christ, from the standpoint of Judas, opened in the Theatre Royal last night. It was stunning. The show was physically strong, visually exciting, loud, and very lively. One of the mind's hemispheres sought pauses, to catch and savour the beauty of the scenes; the other, sensing the adrenalin that flows in the cast and production team on any first; night, was urging the show on as if to slake the urge for excitement the production gave. The show has had many opening nights in this form. It has played in towns in the North Island, and was tested, in Australia. After a six-week season, it win go to Dunedin, before returning to Australia for an indefinite period. Last night was a special, performance for the designer of the perspex set. Brian rbomon. who flew from I Sydney to see it. He had not, i-fore seen a full perform- j tnce on the set. which, in i

model form, he had sent from London to Australia, where . it was built. He too, was delighted with the results. He was in good company. | Mrs Wendy Miller said that she had seen the show about 10 or 12 times, and that this production lost nothing in comparison with the larger, original one. TWO LEVELS ;i The set. unlit, appears to be made of plastic. It is of ,two levels, the stage sloping up away from the audience, the cast gaining access to the higher level from ramps on I either side, except for Judas, who, when hanged, reached the higher plateau on the end of a rope. Two doors slide from the rear to close, or to open the set further. It is lit from side. back, and from underneath. The effects that this lighting can create in-; stantly are quite astonishing. l What the technological [ wizardry of the set achieves; is sometimes the instant; simplicity of a cross, on; which Christ walks, and sometimes a panel through I which we see him greeting Mary, or the rough assault of the guards at the Garden of Gethsemane.

Costumes and choreography for the production were of the same high standards as the set, giving injStant identification of characters good and bad. The priests, dark-gowned and high-hatted, were full of menace, even before their , make-up was revealed. Voices ■ matched their role. Peter North, as Caiaphas, was particularly impressive. The Apostles looked the ( world like simple fisher folk. I their women much less so. ! Pontips Pilate (Raymond Duparc) was obviously the advocate from Rome. Herod was different. Dark wig and glasses discarded, he was a white and yellow Fred Astaire-Noel Coward song-and-dance man. With the; assistance of his “sugar plum puddings” who arrived on! the now-famous electric car. I he flaunted himself before) the kneeling Christ. Stacey Testro, as Mary Magdalene, had a commanding presence, and sang with commendable ability, winning applause for her “I Don’t Know How To Love Him” and special mention for aJ beautiful version of “Could; We Start Again Please.” '

Trevor White was beautiful, Christ-like in serenity, powerful in torment, moving with grace and dignity towards his awesome fate. His singing, too, was impressive, especially in a long solo, “I Only Want To Say,”! i before the soldiers came. JUDAS DOMINANT The super-star of the show, though, was as it was meant Ito be. When Jon English I (Judas) made his first [appearance, he dominated all [other artists, for he was taller, and stronger-looking than most, and moved With' 'more aggression, as befits the villain. He was the perfect foil, tormenting Christi : and himself. In death, he) (returned, magnificently cos-, ; turned, to the set which had' [gained only brief respite •from his absence. Commendation must go to the others in the cast — the fine musicians, lighting men, and crew for a wonderful show. The producer, Harry M. Miller, said that this show was the epitome of all he had learned in 20 years of show [business. It seems so brief a [time. 1 —J.Mc.N.