Inside: B2, Coe family headstones, flag I B5, Veterans Voice Neighbors I B3, Gatherings I B10,

Photos by ADAM LAPIERRE

Superstar
As his radical teachings are evermore embraced, Judas increasingly questions the enlightened motives of this new prophet, resulting in betrayal. Christs final days are dramatized with emotional intensity, thought-provoking edge and explosive theatricality . Propelled by a stirring score, by turns driving and majestic, satirical and tender, Jesus Christ Superstar illuminates the transcendent power of the human spirit with a passion that goes straight to the heart. Director Mark Steighner has led numerous productions in his 30plus years in Hood River, and this production is one of the best, most powerful of his career. Here are Steighners directors notes on the project: Superstar has all the characteristics of a great summer show: high energy and name recognition, it includes a lot of people, but it doesnt require complex sets or overly-elaborate costumes. Additionally it is one of the genuinely , iconic and groundbreaking pieces of musical theater, in that the original used actual rock music and rock musicians in the pit and onstage. The show is also authentically audacious, at least for its time. The late 60s zeitgeist was challenge authority and what greater au, thority to tweak ones nose at but the Church? Forty years later, however, one realizes that in light of todays South Park-Family Guy comic sensibility , where irreverence toward everything makes the idea irrelevant, Superstar is downright respectable in terms of its content and point of view. Sure, it tells the story from Judas viewpoint, and it stops short of the resurrection but then again, so does the supposedly pious Passion of the Christ. And rock music is our lingua franca and is as common in Christian praise teams as everywhere else. What I really like about the music is that the writers were young and obviously heavily influenced by the Beatles more experimental sounds as well as some of the more avant garde composers of the time. The ending is straight out of Ligetis tone clusters. Whats also really interesting is that, at the same time as Superstar, American Stephen Sondheim was starting to come into his own, with shows like Follies and Company creating a very dry ironic, intellec, tual, and detached view of human nature and theater. JCS at CAST This is a big show for CAST 23 actors. But Superstar could easily benefit from twice as many The re. sultand the challengeis that everyone in the ensemble plays multiple roles. So, someone will have to be one of Jesus ardent followers in one scene and a Roman guard in the next. It keeps everyone on their toes: literally because , everyone dances at some point. Without the ideas and creativity of costumer Julie Raefield-Gobbo and lighting designer Mark Dane, none of it would work. So, shoehorning 23 energetic actors into the small space is definitely a logistic issue, but on the other hand, the musical benefits from simplicity abstraction, and espe, cially the intimacy and connection with the audience that the CAST theatre encourages. The cast: The cast is a mixture of theater veterans and a few newcomers as well. Many of the cast members Ky Fifer (Judas), Tiger Brooke Fifer, Austin Wilson (Jesus), Dustin Rose (Simon) were in the CAST production of Hair back in 2002. We have some amazing voices in the show and many of the leads (and some of the band musicians) have trekked from Portland several times a week in order to be part of the musical. We also range from freshmen in high school through slightly more mature actors. With more than 40 musicals to compare it against, I would say that the cast of Superstar is one of the most energized, supportive and generally enjoyable groups Ive ever worked with. Theyre awesome. What were trying to do is create an experience that respects the ideas and beliefs of both believers and non-believers. Ultimately the , show is about Judas and Jesus (and by extension, all of our) human doubts and fears and conflicts. Is the musical an allegory about the way our culture distorts belief and how fame and power seduce? Yes. Is it about politics? Yes. Is it about a power-relationship triangle between three people? Yes, that too. Divorced from its strictly religious context (if that is possible) the story remains powerful and affecting because it touches so deeply that which is frightening, fragile, and fierce within us.
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Jesus Christ
Wednesday, July 6, 2011

B1

Columbia Center for the Ar

To no discredit of the last 20 so productions Ive had the pleasure of photographing in town, Jesus Christ Superstar is above and beyond anything else Ive seen come out of Hood River. For such a small town, the Center for the Arts regularly puts on some excellent productions, so I recommend watching as many as you can. But if you only go to one show this year or ever this is the one to , , watch. Adam Lapierre Columbia Center for the Arts presents one of the most popular rock operas of all times, Jesus Christ Superstar. The show will open July 8 with performances continuing on July 9, 14, 15 and 16 at 7:30 p.m. and a matinee on July 10 at 2 p.m. It seems especially fitting that the first rock opera, created as a concept album at the end of the turbulent '60s, should have at its center a social and political rebel. Jesus meteor-like rise in renown provides, as the title suggests, a parallel to contemporary celebrity worship.

DETAILS, DETAILS
Show opens: July 8 and continues on July 9, 14, 15 and 16, all at 7:30 p.m. A matinee is also scheduled for July 10 at 2 p.m. I Tickets: $15 for adults, $12 for students and seniors (62+), $8 for children 11 and under. Tickets are on sale at Columbia Art Gallery and Waucoma Bookstore in Hood River and online at www.columbiaarts.org. I Cast and crew (including pictures on this page): Jesus: Austin Wilson; Judas: Ky Fifer; Pilate: William Thayer-Dougherty; Mary: Jannicke Sletmoe; Herod: Luke MacMillan; Caiaphas: Chip Wood; Annas: Eric Sletmoe; Simon: Dustin Rose; Peter: Daniel Woodrich; Ensemble: Andrea Rose, Lisa Spika, John Lockmann, Rosemary Shepardson, Tylee Laurance, Tiger Brooke Fifer, Emily Vawter, Liz Hartmann, Erika Winner, David Dye, Richard Parker and Theresa Kappel; Lights: Mark Dane; Sound: Ken Woodrich; Band: Jerry Keith, Henry Kapp, Randy Bell, Alex Arrowsmith; Costumes: Julie Raefield-Gobbo; Director: Mark Steighner