'Superstar' Not Anti-Jewish

By Peter Bellamy

NEW YORK-There have recently been several widely publicized attacks on the Broadway stage production of the musical "Jesus Christ Superstar," alleging that it is anti-Semitic.

The American Jewish Congress, indeed, engaged the services of a Protestant minister to review it. His conclusion was that it is violently anti-Semitic.

I DID not detect any antiSemitism in the concert version of the show, which was played without scenery or props in Public Hall. As one who considers himself as pro-Jewish as Moishe Dyan, I like to think I would be acutely aware of any antiJewish bias.

Therefore, it was it was with particular interest and concentration that I have just seen "Jesus Christ Superstar" at the Mark Hellinger Theater. My opinion is that it is not anti-Semitic, a belief shared by a New York lady of the theater of my acquaintance who happens to be Jewish.

We agreed further that the only offensive feature of the production is its presentation of Herod as a mincing, screaming fag. With elevator shoes, rouge and lipstick, and long false eyelashes, he appears to perform in what is now known as homosexual drag.

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IT IS a needless pity, for his "King Herod's Song,' next to the haunting "I Don't Know How to Love Him," is the best song in the Andrew Lloyd Webber-Tim Rice score. Paul Ainsley's faggoty rendition all but ruins it. For this, director Tom O'Horgan must be blamed.

The scenic design by Robin Wagner. the lighting by Jules Fisher and the costumes by Randy Barcelo are electrifyingly colorful. Silver, gold, gavdy colors

and awesomely rich sets are in barbaric profusion. It's reminiscent of a Cecil B. DeMille production.

The choreography, for which there is no specific credit given in the program, is sensationally creative and may mark the first breakthrough in dancing for musicals since "Oklahoma." Webber's lush lush orchestrations are sometimes overwhelming in sound. The massed voices of the chorus sound like a great choir.

UNLIKE the concert version, which only suggested it. the stage production shows the crucifixion of

Christ in the background at the end.

It is easier to hear the words of the songs in the stage version because the orchestra is in the pit below the floor of the theater. rather than being on the same level and just behind the singers as in the concert version.

This rock opera accents youth in its large, integrated cast and is aimed at the youth in the audience. It is a joyous paean to love and the holy spirit. It suggests our own youth reaching out desperately for ideals and figures in which it can believe.

THE STORY presents Judas Iscariot not just as a scoundrel and paid informer but as a man deeply troubled by his doubts of Jesus' divinity and his fear that the latter's actions may lead to bloodshed. In the role, Carl Anderson displays a fine voice and agony of soul.

Jeff Fennholt, an alumnus of Ohio State University, portrays Christ with utmost sincerity and gentleness. He, too, has a fine voice. Yvonne Elliman, as Mary Magdalene, sings "I Don't Know How to Love Him" with a torchy quality of despair.