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By Lauren Yarger
Since feel-good messages, relevance to contemporary culture and an urgency to reach out to the younger generation have become commonplace in modern churches, it should be no surprise that a retelling of the gospels in theatrical form via the first Broadway revival of Godspell would strive to do the same.
A young, forever smiling, blond-haired Jesus (Hunter Parrish of TV's "Weeds") forsakes costumes like a cleric's robe (traditional religion) and a Superman T-shirt (he's not a super power...) to select a "Co-Pilots" (we're all the same) baseball shirt with a #1 on the back to be a sort of team captain to a bouncing, energetic group of ethnically diverse disciples.There are jokes with references to today's headlines and a rock beat with lots of good singers performing hip choreography (Christopher Gattelli) amidst special effects (Chic Silber, design). It's not unlike a lot of worship services at today's mega churches, but while the flesh is willing to entertain audiences with a glitzy performance, the spiritual message as interpreted by Director Daniel Goldstein is weak.
The vision starts off well as the regular routine of frenzied cell phone users is interrupted by John the Baptist's (Wallace Smith, who also plays Judas) call to "Prepare Ye" for the coming of the Lord (yes, for you die-hard Godspell fans, the Prologue is in). They abandon their everyday garb for some rather odd green, orange and blue-hued costumes (Miranda Hoffman, design) and get baptised in a nifty pool with dripping water right on stage.
The set is designed by David Korins, who does a nice job with some minimal props in the theater-in-the-round confines at Circle in the Square Theater. Stations for the musicians (Charlie Alterman provides music direction) are placed throughout the house, with a piano on stage as part of the set.
The Jesus whose coming is trumpeted is a little disappointing, however. Parrish, unfortunately, is miscast and appears to struggle for some of the notes in Stephen Schwartz' score ("Alas for You" is particularly weak). He portrays a character who ranges from an excited, mischievous little boy to a rock star (using a hand-held microphone for a couple of numbers) to Groucho Marx to Bozo the Clown on speed (for you Godspell fans, the clown motif begun with the original production in 1971 actually is gone).
He never embodies Jesus, though and when one of the disciples calls him "Master," we wonder why. In addition, there are a few times when Jesus seems to be a little slow -- like when Anna Maria Perez de Tagle and he have to count out on their fingers the three things she prays "Day By Day."
If you take your eyes off Jesus and focus on the glitz you'll feel better (hmmm... that sounds like some churches too). The cast is very strong vocally and Lindsay Mendez, who genuinely appears to be enjoying herself, gives a rousing send up of "Bless the Lord" while Telly Leung delivers a nicely belted "All Good Gifts."
Standing out is a fabulous Uzo Aduba, who brings humor and depth to the various parts she plays in the retelling of the parables. She plays a funny nasty bird in the "sowing of the seeds" story, then sings a beautiful, emotion-filled "By My Side" in what is the productions most spiritual moment -- a life changed by an encounter with Christ. This number sounds the most like its original version, whereas most of the other numbers have been updated with reverb, rock, hiphop and other youth-friendly sounds and new arrangements by Michael Holland. Some of them, like the modern jokes inserted, work better than others. "Turn Back, O Man" (sung by Julia Mattison, understudying Morgan James the day I attended) is a particularly disappointing arrangement. Schwartz also has updated some of the lyrics. Overall, bringing the show out of the hippie movement into the 21st century works well.
The staging of the parables is fun, clever and engaging (though the eternal damnation of the goats separated from the sheep is delivered like a punchline). The good Samaritan is told to the beat of an African drum (apparently written by cast member Celisse Henderson as her audition for the show)with the clever use of a newspaper and a ladder; the unmerciful servant is recounted with beat box; audience members, some seated on rush-priced cushions around the edge of the stage, are brought up to participate in among other things, a game of Pictionary; one story is told in different languages. At intermission, a tray of wine in communion-like cups is brought onto stage where the audience hangs out with cast members while the band rocks.
Some of the staging and choreography is visually stimulating, but not easily explained. Confetti is shot at the audience, trap doors reveal mini trampolines on which the cast members bounce, the last supper table is a pit of fog. Cleaning up the stage during scenes is a bit distracting.
The Crucifixion scene is nicely done and well staged with moving effect for the audience in the round (David Weiner, lighting design). Jesus is lowered and carried dead from the stage while his disciples sing about building a "Beautiful City" on their own without his returning to join them. Yes, fans, the Resurrection is out (and as a result, thousands will skip this production and attend community or church productions of the musical where a resurrected Jesus returns to join the cast for the last choruses of "long live God.")
The cast is rounded out by Nick Blaemire and George Salazar.
Godspell plays at The Circle in the Square Theatre, 235 W. 50th St., NYC. Tickets: 212-239-6200.
Christians might also like to know:
--The good seed is equated to a stimulous package
--Rich man Lazarus in hell cries out to Father Abraham that he wants to see his birth certificate
--Judas tells Jesus his father wants him to friend him on Facebook
--The language from scripture isn't exact. For example, Jesus tells the disciples that they all will betray him before the crock crows three times, not just Peter.
--While telling a joke, Jesus says that while some people read palms or tea leaves, he reads feet.
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