I have a long relationship with this show and, in my mind, its memorable tunes. Back in the days when I harbored some religious beliefs, Godspell was performed quite often. I’ve seen friends perform in it on stages and on altars. I saw the frenetic and misguided Broadway revival in 2011. The 2020 production at the Berkshire Theatre was the first post-Covid equity musical in America. It made national news and was my first post-Covid show as well.
With all that baggage unloaded I decided to check out the version presented by Art 4 after having enjoyed their successful The Last Five Years in the fall. There are inevitable comparisons one makes when you see a show you know extremely well. This experience was similar to attending the Broadway revival of Sweeney Todd: The Demon Barber of Fleet Street last week.
The early productions of Godspell often mimicked the off-Broadway smash hit with the electric fence crucifixion and other trademarks. Over time things evolved. The plastic partitions between the performers during Covid was certainly novel (and Actor’s Equity approved). What I especially appreciated about Director and Choreographer Mark Albin’s vision were some fresh and inventive updates to the material.
The show opens by considering the concept of truth. Various historical figures wearing identification sashes gather. Then Judas (Zach Wilkeson) arrives and prepares ye the way of the Lord. Parable storytelling here was mostly effective with a notably inspired Prodigal Son. Jesus was portrayed by Laurisa LeSure, a black woman in a nicely modulated performance filled with gentle wisdom and necessary gravitas. The entire cast was dialed in and entertaining to watch.
Lingo is tossed in frequently by the young cast. “Go Master, it’s your birthday”. Trump is referred to as “you crazy comb over man”. That logically occurred amid the “no man can serve God and money” scene. Pictionary and Charades are employed in the storytelling. “Occupy Library” was a funny bit as the show is housed in the South Bend Public Library’s auditorium.
The jokes continued. When asked “do you know what the seed is?” one guessed “the stimulus package?” Songs were nicely performed with an especially fine “Bless the Lord”.
For a fifty year old show, there’s quite a bit of seriousness acutely relevant to today’s environment. Some lines and lyrics land hard. “They say one thing and do another”. “Everything they do is for show”. “This nation, this generation shall bear the guilt of it all”. Thankfully a solution is proffered: “Do not be overcome by evil but overcome evil with love”.
At intermission I was considering the changes made to this show over time. I recalled a play which blew my mind when I saw it in 2013. Mr. Burns, a Post-Electric Play begins with a group of survivors retelling an episode of The Simpsons after a global catastrophe. Two subsequent acts present versions passed down and revised in later years. I won’t be around 75 years from now but Godspell will likely be. Hopefully creative people will continue to interpret, revise and celebrate this enduring and warm hearted American musical.
Godspell concluded performances on March 26 , 2023. Art 4’s season will include Spring Awakening in July and The Lightning Thief in November. I saw the former’s original Broadway cast and the latter’s national tour. Both should be worth checking out and could benefit from a different point of view.
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