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November 03, 1988 - Image 7

Resource type:
Text
Publication:
The Michigan Daily, 1988-11-03

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ARTS

Page 7

The Michigan Doily

Thursday, November 3, 1988

From

Tennessee

to

the

Holy

Land

UAC/Musket revamps

Superstar

Morris produces moving

BY BETH COLQ UITF
WHEN I was in fifth grade, my best friend Helen and
I spent a lot of time listening to Jesus Christ Superstar
at her house. She had seen the show and bought the
album, and we used to sit around making up new lyrics
to go along with the melody of Superstar. I didn't
know anything about the show then. But I remember
that the best we came up with was "Jesus Christ/
Superstar/ Where the hell did you park your car?"
Needless to say, Tim Rice did a much more eloquent
job, and Musket/UAC will be performing Jesus Christ
Superstar, Rice's version of the last seven days of the
life of Jesus Christ.
The music for Superstar was composed by Andrew
Lloyd Webber, a magical name. Superstar was Web-
ber's first rock opera, and his second collaboration with
Rice. Webber is also responsible for such shows as last
season's smash success, Joseph and the Amazing
Technicolour Dreamcoat, (the first Rice-Webber collab-
oration) and the current London and New York sell-out
shows Starlight Express and The Phantom of the
Opera.
Superstar will be directed by Eric Gibson and
produced by Michelle Futterman and Jamie Mistry.
Mistry starred in Joseph last year. Gibson, a junior in
the School of Music, directed four shows in high

school, and is involved in the Gilbert and Sullivan
Society and the University Opera Theatre.
The University's production of Superstar will be a
little different from the original in casting. The
traditionally male roles of Pontius Pilate and King
Herod will be performed by women. According toj
Futterman, "There is only one written role fora
woman in Jesus Christ Superstar, and that's Mary
(Magdalene). We wanted to give more women a chance.
We also thought that it would be an interesting inter-
pretation of the script, and it just happened that there
were women who auditioned who we felt had that sort
of strong aura that would work well in a position of
power, such as Herod or Pilate.
"We all went into the auditions with an open mind.
We realized that the only written role is Mary, and
realized that there would be a lot of talented women
trying out, so we decided to cast whoever was right,
regardless of sex."
Gibson realizes that some may be confused by
females cast in the customary male roles. "It will take
the audience a while to get used to it. A lot will say
why, a lot will hate it. It's necessary that people realize
that this is not professional, this is a university, and
because of that we can experiment a little."
See Jesus, Page 8

BY JENNIFER BERMAN
IT'S a classic; an attempt "to catch
the quality of really 'tough' Ameri-
cana of the comic sheets, the skid-
row bars, cat-hduses, Grade B
movies, street-Arabs, vagrants,
drunks, pitchmen, gamblers, whores
..." No, this is not Ann Arbor on a
Saturday night. It is Tennessee
Williams' description of his first
successful full-length play, The
Glass Menagerie, being produced by
Susan Morris for Ann Arbor Civic
Theatre's MainStreet Productions.
The Glass Menagerie is dis-
tinctly American. It is a strongly
autobiographical work, examining
Southern gentility, sensitivities, and
their accommodations to the forces
of social change. Designed specifi-
cally for a popular American audi-
ence, it sparks the flame in all of us.
As Americans,we can easily relate
to Williams' vivid, energetic explor-
ation of middle-class American life.

The Glass Menagerie is the story
of Amanda Wingfield, a faded
Southern belle who attempts to find
meaning and direction in her
poverty-stricken life in St. Louis.
Her children, Tom and Laura, both

Menagerie
live in escapist worlds of illusion.
Tom, submerges himself in a world
of alcohol and the movies; Laura
surrounds herself with a collection of
delicate glass animals. This strained
See Glass, Page 8

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