`JESUS CHRIST SUPERSTAR': THRILL IS NOT GONE (REVIEW)

You can see why tradition-minded Christians might have been offended by "Jesus Christ Superstar" when it first appeared. All that rebellious rock 'n' roll, all that gyrating, and Mary Magdalene caressing Jesus' face. "I Don't Know How to Love Him" indeed.

Almost 25 years later, you also can see why this rock musical was embraced by people -- mostly young ones -- who were seeking far more from religion than dry sermons.

And why marrying rock 'n' roll with the story of the original rebel is as startling and as thrilling today as it was back then.

Friday night's production at the Show Me Center was mesmerizing and dazzling -- musically, theatrically and technically.

The musical follows the last seven days of Jesus' life. It captures the excitement his followers must have felt in his presence and the spikes of joy and grief they experienced in those few days. It is ecstatic -- a state of being it proudly associates with religion.

Road companies attracted to towns the size of Cape Girardeau don't always field the A team. But this "Jesus Christ Superstar" presented singers with soaring voices and a sound system to handle them, a tight rock-band orchestra, a high-tech set and technicolor costumes that provided the audience of 1,800 with some near-miraculous moments.

Reprising his role as the original Jesus on Broadway and in the 1970s movie, Ted Neeley was an amazement, a serene presence with a rock singer tenor like a Saturn rocket. He does this eight shows a week?

Lisa Marie was as powerful in her way as Mary Magdalene, turning the touchstone tune "I Don't Know How to Love Him" into a brand new song with her aching rendition. A veteran of "Hair," "Evita" and "Carmen" tours, she has the individuality of a major talent.

Twenty-year-old Jason Raize, another potent singer, played Pilate with an assurance and sense of inevitability far beyond his years.

Likewise, Gary Rowland forcefully portrayed Judas' defiance and agony. Another favorite was P.J. Terranova's Herod-as-Elvis, a hoot that might still spawn some chuckles in the pews come Easter morning.

Jesus rises from a glowing cross at the curtain, the kind of technological gimmickry composer Andrew Lloyd Webber has become known for. It sounds hokey but works on sheer audacity and technique.

A heartfelt standing ovation ensued.