Nevertheless, past productions of this show have overcome these flaws by approaching the material in some very intelligent ways. If audience members are able to identify with the characters on stage or appreciate the enthusiasm and talent of the performers and creative team, or even enjoy the religious story at the show's center, they come away having, at the very least, enjoyed their time in the theater. The notable talent showcased in this production allows for basic enjoyment; but we cannot be faulted when we desire a more meaningful experience.

This is precisely the reason why the Loeb Mainstage production ultimately proves so ineffectual: director Daniel Berwick '01 has a style which approaches the material solely on its own terms, allowing the script (or rather the songs) to drive the show rather than maintaining control over the theatrical experience. This approach results in two things: a pervasive sense of confusion and a profound lack of connection between the audience and much of the action on stage. The palpable anticipation of what is arguably this season's major theatrical event was met with, and disappointed by, the repeated failure of the principals' body microphones, confounding the vocal efforts of the cast, and troubling the audience's ability to immerse in the musical.

Despite the familiarity of the story of Jesus Christ, countless audience members were overheard during intermission asking their companions concrete questions about the action of the play ("Who's that guy who keeps coming out and yelling?" "I think that's Judas..."). Whether or not the audience's competence at following the plot should be a consideration for the director, the fact is that many in attendance were reduced to a state of bewilderment.

The situation was not abated by the excessive cast: the chorus is referred to in the script as "The 50,000," and Berwick seems to have taken this a bit too literally, casting a truly overwhelming number of actors. Although a large cast, directed so as to focus rather than diffuse the audience on the central action, can work to a show's, this production's overabundance of actors only bolsters the audience's already confused state. Is the crowd happy with Jesus? Angry at him? Leprous? Is their back-slapping friendly, or is it violent? Although the level of dissonance in the musical accompaniment provides some clues, we are generally left to our own devices in answering these seemingly basic questions. In response to any lighting change on stage, a cacophony of rustling programs rises from the audience as people attempt to determine the setting of the next number.

This is not to say that the chorus members don't work hard; they clearly do. Despite the obstacle of an imbalanced sound design, which often permits the band to drown out the lyrics, it is clear that the group has the potential to sing admirably. However, as a rule, they seem more aware of what they should be doing at a given moment (in terms of choreography) than why they are doing it. This apparently aimless motion-playing, agitated by the compromised intelligibility of the lyrics, does regrettable damage to the finished product.

A single attempt has been made to remedy the audience's puzzlement, and its seemliness is tenuous at best: Berwick has the Priests who wish Jesus dead, led by a strong-voiced Steve Toub '01, demonstrate their depravity by smoking cigarettes (Judas is offered what appears to be a Marlboro Light when he chooses to join the dark side) and performing acts of homoeroticism during their suggestive dance breaks. The world of the Apostles is one of happiness, light, and heterosexuality; that of the priests is smoky, dark, and categorically gay.

Overall, though, even a pall of serious confusion is surmountable if a production manages to create some connection between the audience and the action on stage. However, in this rendition the audience is offered no character with whom to identify. As it is written,Superstar can be performed either as a story of Judas or one of Jesus. In the case of the former, the director must allow the audience to recognize the character of Judas as a narrator. He sings the expositional opening number and the flashy closing number; between these two, if he is visible and relevant to the audience on stage, he can become a sort of window to the action. Although he does spend a great deal of time on stage, Judas (a violently emotive Ryan Shrime '00) is swallowed up by the general hubbub except during his solo numbers.

On the other hand, if the evening's story is to belong to Jesus, his character must be seen as an actual superstar. He must be dynamic, commanding, and so appealing that the audience truly cares what happens to him. While Jeffery E. Fowler '00 turns in an admirable performance in the title role and his voice is quite strong, he seems to have been offered little in the way of character direction. For a brief moment, Fowler demonstrates to the audience's delight that he is, in fact, an energetic and charistmatic dancer, but a less than appreciative direction misuses his appeal by having him spend the majority of his time on stage in undefined wandering and characterization.