Godspell
Rejoice and be glad! The Knightsbridge Theatre resurrects the greatest story ever told—taken mainly from the gospel of St. Matthew--in this beloved musical revitalized with a fresh cast and a whole lot of attitude that will bring even secular audiences rising to their feet like holy rollers in a disco ball glittering revival.
Jesus is back--sporting the all but familiar Superman logo emblazoned across his chest-- and with him his youthful, eager, retrofitted disciples that look more like Burning Man refugees and prison inmates with their teardrop tattoos than their oft-misconstrued former selves as flower-power hippies. Each brings their own distinct personalities and flair to create unforgettable characters in a celebration of the individual, while maintaining a working cohesion as a merry band of misfits and sinners in this charming ensemble.
What with many shows feeding into the anxieties of the current recession, “Godspell” even in its seeming naiveté, is a breath of fresh air and the timing couldn’t be better for a show that reminds us to “Love thy neighbor,” and “Turn the other cheek.” Since its opening in 1971, a year after Webber’s “Jesus Christ Superstar,” its enduring message of love, faith, hope and charity, but above all these love, has endured and transcended the best and worst of times, proving it to be socially relevant, but also timeless in its appeal well into the 21st century.
Part of this is due to the source material itself, the gospels, with such recognizable parables, so totally etched into our social consciousness regardless of one’s belief as “The Good Samaritan” done with sock puppets or “The Prodigal Son” featuring Jason B. Hightower’s sidesplitting, queenish portrayal of the snubbed brother. These stories celebrating the teachings of Jesus do not alone account for the show’s popularity; it is the overriding and somewhat overly exuberant message that love is all we need. With the latest rise in unemployment and foreclosures, this may be a hard candy coated pill to swallow, but its heartwarming prescription is good medicine, if not a panacea for the soul.
Cynics be damned as this production, feverishly directed by Chuck McCollum, squelches any of the uncomfortable preachy underpinnings from the usual ragtag, glazy-eyed converts and replaces it with a dynamic, universal energy that entreats the audience to clap and sing along. Even its popular folk tune ballads such as “Day By Day” sweetly sung by Jenny Weaver loses its “Kumbaya” flavor and instead serves as a gentle reminder that all we ever have is this day.
The typical saints are missing here, replaced by a cheery but motley crew that be-bops with the best of them, gyrates, raps, and flirts suggestively with unabashed enthusiasm. The disciples, then, are not some extraordinarily enlightened followers sitting on a pedestal up high; they are reflections of our community and ourselves in this multi-racial, playfully provocative cast celebrating the differences united by unconditional love and compassion for one another.
The storyline while a bit flimsy, is flexible enough for some creative retooling, resetting and additional improvisation to keep it pop culturally germane. However, this production avoids dating the production in any concrete way, settling on an ambiguous period that draws its influence over the last few decades, becoming an amalgam of the show’s progression over the years.
The setting, an internment camp, ingenuously designed by John Paul DeLeonardis, bookends the show for an effective and riveting prologue as the famous philosophers and social activists clamor for their release. It also creates a moving and emotional backdrop in the crucifixion that is simply, but finely executed.
Enter John the Baptist, brilliantly played by Rene Guerrero as well as the dual role of Judas Iscariot, releasing the slaves of thought and corporeal wisdom upon the baptism of Jesus, portrayed by the likable and charismatic Sterling Sulieman. The plot follows the teachings of Jesus to his eight disciples, and is a culmination of skits, song, and dance with the occasional magic trick thrown in by Sulieman, mischievously suggesting his miraculous abilities. The relationship that develops between Jesus and each member of the cast is fascinating to watch up to the finale with the additional “Resurrection” often removed from other productions, but included here with clarity, masterful nuance and heartrending tone.
The band, discreetly playing behind a scrim, provides a sassier, upbeat but feeling arrangement without detracting from the action onstage. Other than an awkward rap sequence, and the occasionally annoying headset mikes that are not always able to pick up Sulieman’s soft voice, the cast splendidly sings their hearts out with much gusto and fervent pitch.
Standout soloists, Cloie Wyatt Taylor in “Bless the Lord” and Talo Silveyra’s in the tenderly wrought “All Good Gifts” as well as Zach Bandler in “We Beseech Thee” all deliver the goods with emotional sensitivity and impressive vocal range. Tracy Thomas and Kelly Boczek are positively lovely in “By My Side.” Maria Lee, the token sex kitten proves she’s quick on her heels with hysterical improvisation and provides a stunning Pieta tableau, blending the virgin and the whore archetypes in a singular and unforgettable image.
Harking back to the original, this production of “Godspell” -- with the exception of the crucifixion and resurrection -- does not altogether break new ground, but it doesn’t entirely conform to its original stylizations either, aided by musical director Jan Roper’s invigorating interpretation of the pop-rock score. Instead, it appeals to a wider audience that includes those already well versed with the musical and those seeing it for the first time by providing a fresh, new perspective without losing sight of the show’s spiritual vision.
Amen.
“Godspell”
Runs through July 12
Saturdays at 8pm
Sundays at 3pm
Knightsbridge Theatre
1944 Riverside Drive
(Near the 2 & 5 freeways)
LA, 90039
PH: 323-394-1584
www.knightsbridgetheatre.com