THEATRICAL tricks are the trademark of Tom O'Horgan, the Superstar director. He turned Futz, nominally a modest little play about bestiality, into a Dionysian celebration with actors writhing all over the stage in transports of pagan ecstasy. In Hair O'Horgan set a similar kind of group grope to a rock upbeat. In Lenny, a crowd of gigantic papier-mâché figures symbolizing his fantasies loom over the doomed comic Lenny Bruce. In Jesus Christ Superstar, O'Horgan has characters descend grandly from on high—now in a huge mysterious whalebone basket, now on a platform designed like...
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