Philip
Dorian
A Socially Distant Group Hug: “Godspell” Live! Through September 4 at Berkshire Theatre Group Colonial Under
the Tent, 111 South Street, Pittsfield Massachusetts.
“Not to put any pressure on you, but the entire American theater is depending on you to be smart.” Thus spoke Kate Shindle, president of Actors Equity, to the cast of “Godspell,” the first live production her union has authorized since the nationwide shutdown in March. And smart they were on opening night August 7 at Berkshire Theatre Group’s Colonial Under the Tent facility in Pittsfield, Massachusetts. Smart, and smartly prepared to perform the 1971 musical chestnut within the boundaries decreed by the state of Massachusetts and by Equity (eight of twelve cast members and two Stage Managers are members) without dampening the show’s live-ness. In fact, for this audience member at least, the restrictions, including spittle shields, sometime masks and social distancing, became incidental to the performance about ten minutes in. (Massachusetts limits attendance at outdoor events to 100, capped here at 75.)
“Godspell” was one of several Bible-themed musicals from the 1970s, joining “Two By Two” (Noah’s Ark), “Superstar” and “Technicolor Dreamcoat” in that decade. It began as a non-musical master’s thesis by John-Michael Tebelak and was workshopped at Café La Mama, where Stephen Schwartz (“Pippin,” “Wicked”) added music and lyrics. The show then moved to an off-Broadway house, where it ran over five years before moving to Broadway, for another year run. Based on the Gospel According to St. Matthew, “Godspell” depicts a series of parables acted out in oft-updated contemporary language and meshed with Schwartz’s folk/rock/gospel score. Despite some negative-to-scathing reviews, the upbeat and spiritually unassailable show became a staple of school, church, and community theater groups. The simple concept has a group of young disciples (originally hippie types) learning from Jesus to not cast the first stone or your pearls before swine, but instead to turn the other cheek and help thy neighbor. Moral counsel and an appropriate song accompany each lesson. Indeed, one of the songs is “Learn Your Lessons Well,” sung – and tap-danced! – by the delightful Kimberly Immanuel.
Without its usual touchy-feely ambience, the text is more sermon-like (not to advantage), but Nicholas Edwards’s Jesus is an ingratiating fellow, whose “All For The Best” soft-shoe vaudeville turn with Judas (Tim Jones) is a highlight. The two eschew canes for yardsticks, ensuring the six-foot mandate. Guided by musical director Andrew Baumer, all the numbers, directed front, are welcome bridges between scenes. The show’s breakout hit, “Day By Day,” is Isabel Jordan’s shining moment, and Emily Koch stops the show with her full-out Gospel-rich “Bless the Lord.” The ensemble aces the eleven o’clock number “We Beseech Thee.” Obviously a labor of love for director Alan Filderman and choreographer Gerry McIntyre, “Godspell” accomplishes its goal. Their fresh young cast, working under unique restraints, extract more spirit and pleasure from the show as any I’ve seen – or could imagine – before. The passage of time burnishes memory. In 1959 I saw Ethel Merman’s first public performance in “Gypsy,” and on August 10, 1987, the 5,000th performance of “A Chorus Line.” Breaking a five-month fast with “Godspell” last week doesn’t rank with those, but, under the circumstances, it is and will, I suspect, remain memorable. Who could have predicted back in 1970 that fifty years later, John-Michael Tebelak and Steven Schwartz’s modest musical homily would be, for a few weeks anyway, the most famous play in America?
|
| recordings | coupons | publications | classified |