'Superstar' enjoyed

Press, 13 June 1979, Page 6

'Superstar' enjoyed

Howard McNaughton

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“Jesus Christ Superstar,” , by Timothy Rice and Andrew Lloyd Webber. Directed by Duncan Whiting for the Palmerston North Operatic Society; Theatre Royal, June 12 to 16. Running time: 8 p.m. to 10.20 p.m. A gratifyingly large audience attended the Christchurch opening of the country’s amateur premiere of “Superstar” last evening: gratifying because a toar like this can only act as a corrective against insularity, because it offers a rare and invaluable opportunity to take stock of our own recent achievements, and because it is directed at an audience whish is often neglected iucally. Of course, “Superstar” has a proven appeal that is extraordinarily wide for a rock opera; last night’s audience ranged from 70-year-olds to primary schoolchildren. and everyone seemed to enjoy it thoroughly. But there is a special audience element

which is particularly well served here: those who would attend Brent Brodie in concert very seldom find a theatrical event with parallel appeal. Given a few soloists of special calibre—and this the production has—“ Superstar” is an ideal vehicle for amateur enterprise and energy. With an inventive approach to grouping and choreography, a large supporting cast performs on numerous acting levels to give a generally impressive, fullbodied sense of social dimension. In the more sombre moments, the crowd atmosphere is sometimes tentative; but in the big, memorable scenes like Palm Sunday it rises splendidly to create a totally engaging mood. In terms of instrumental support, the 15-piece concert orchestra is lavish in effect and impressive in precision, doing ample justice to a very interesting score. Of the soloists, Brian Jennings does the difficult title role with a creditable simplicity, without any suggestion of pretentious guru or charismatic hypnotist. Magdalene is an actress’s dream role, but Elizabeth Davies excels

in a finely controlled performance, beautifully sung and sensitively acted. The antagonists, though, get the most interesting dramatic roles. Brent Brodie’s Judas is essentially a singing performance — if he dazzles us with a cartwheel, some of his dancing is constricted — but he builds up to a highly effective death scene. I Wayne Halidone, as Pilate, has a magnificent entrance number which sets a vocal and visual level that he never quite matches again; Tura Rata gives a moving interpretation of Peter’s denial, and Stephen. Robertson’s scene, as Herod, is a showstopper which leaves the theatre full of exhaust fumes. Inevitably, there are numerous trivial technical details which slightly impede the flow and precision of the show as a whole; but it does come surprisingly close to professional standards, and adds to them energy and commitment. This production deserves to be popular; I only wish it had brought back with it the Palmerston North production of “Passion” which, last year, had a highly stimulating effect on Christchurch Theatre Federation activity! rs