ent000465-002

signed by Mr Jackson) and amazing scene changes that use mirrors and colors, as well as set designs to create effect. From carnival Venice of the 17th Century to street-wise New York and present day Oz, the pace of music, set changes and show tempo keep space travellers and theatregoers on the edge of their seats. It is difficult to realise that the enthusiastic and elastic Mr Jackson was a shy teenager, almost crippled with deformed feet, and very, very fat. In typical Jackson style, ho did not tell his teachers about his deformity, but hid his feet and worked harder than anyone else to become proficient, He demonstrated his artistic and musical ability early. Perhaps because of his very limited social life, he poured every ounce of work and talent into playing piano and drawing. At 15, his doctor advised dancing lessons to help his failing leg muscles. The dancing lessons, with Eugene Coring and Carmelita Marachi, changed his life. In typical Jackson style, he did not tell his teachers about his deformity, but hid his feet and worked harder than anyone else to become proficient. Three months later he was offered a job in the chorus of Words and Music. "My legs hurt terribly as, the muscles stretched," he said. "I bad the most awful cramps each night, but I kept going because I could see a new world opening up out tnere.^ ;i ?√ß *i majored from the UCLA witHa masters' degree in art and also took out a,music degree at the same time. "( "In many ways I was lucky, Everyone needs a period of solid endeavor as a basis for any career. My physical limitations meant I concentrated on my studies so that was behind me when I started in show business. "I became assistant choreographer on the Danny Kaye Show under the direction of Hermes Pan, who directed Fred Astaire. I soaked up all I could of his fabulous technique." Since then, Jerry's career reads like an encyclopedia of show business. JERRY JACKSON... Jupiter*' first revue Is hard work ?╟÷ but that's just what Its director thrives on. Picture: ALAN LAMBERT He has directed, conceived and choreographed French-style revues in Las Vegas, Paris, the Philippines, Lebanon, Mexico and the Bahamas. He has staged and choreographed Broadway musicals ranging from Seven Brides for Seven Brothers to Man of La Mancha and Promises, Promises, as well as lounge revues and star acts for people such as Bobby Gentry, Goldie Hawn, Tony Orlando, Juliet Prowse and Sergio Franchi. In 1966, Jackson was hired by Paris "Folies" director, Michael Gyarmathy, to choreograph the 100th anniversary production of the original show. His stint on the Gold Coast is typical of the whirlwind speed at which he works. He sleeps only three or four hours each night. The rest of the time is spent on the set. With a Broadway show and a new movie waiting for hint back in the US, Jackson's time here is limited. The electricians and carpenters are used to seeing him pacing a,bout ana making notes at odd times pfth^dayajnd night. He usually eats break- tast at 5 a.m. ~~ eggs,Tresh frujt and tea ?╟÷ and then works^ straight through until 6 p.m., when he has dinner in his room, "I cat-nap while I'm waiting for the food to arrive and this refreshes me enough to keep going into the early hours of the morning," he said. With a Broadway show and a new movie waiting for him backlri the US, JacksonVtime here is limited: *T1I stick around until February to make sure all is well before I head for home." He thinks Starz is one of his best efforts. "If the show works as I mean it to work, the audience will go home touched by that old magic that is the essence of show business," he said.