If it's Easter season it must be time for Stephen Schwartz's "Godspell," which along with Andrew Lloyd Webber's "Jesus Christ Superstar" are the two famed Broadway musicals about the Bible's story of Jesus.
Unlike Webber's moody rock opera, "Godspell" is mostly an upbeat recount of parables that the Bible's book of Matthew attributes to Jesus. Schwartz reworked the original show by John-Michael Tebelak, using lyrics straight from the Episcopal Hymnal and the Bible, as well as adding a few wholly original numbers.
The result was an early 1970s counterculture hit that eventually made its way to Broadway.
Stephanie A. Coltrin, directing "Godspell" for the Civic Light Opera of South Bay Cities, decided as many directors do to set the show in modern times. She also made the popular choice of having the cast improvise to come up with much of the ancillary dialogue that infuses the parables with current news and pop culture references (even CLOSBC executive director James Blackman III receives a gentle gibe about his joke-filled pre-show speeches).
It's that collaborative effort, along with Schwartz's early musical style, that will always trace "Godspell" back to its hippie roots, which seems to raise ire in many critics.
But it's hard to deny that Schwartz's score is a nearly nonstop stream of beautifully melodic and catchy cabaret-style songs. Also, the parables, whether or not they are viewed as religiously significant or purely as philosophy, provide plenty of advice on how to be a caring human being.
That solid foundation is bolstered in this production with a strong vocal cast, snappy direction, a visually impressive set and a decent number of original humorous bits of dialogue. It may not rock the cynics, but the "Godspell" running at the Hermosa Beach Playhouse is a lively, emotionally honest two hours of enjoyable seasonal entertainment.
The cast of a dozen, accompanied on stage by a solid four-piece band, is addressed by their actual names, except for the characters of Jesus (Elijah Reyes) and Judas (Matthew Koehler). In Coltrin's version, the musical is set in New Orleans just after Hurricane Katrina hit, when the flood left the city's remaining residents to fend for itself.
Jesus involves the cast to illustrate parables about love, justice and forgiveness. The second act also includes the Gospel's stories of Jesus' crucifixion and resurrection.
Though there are a few clinkers, many of the new jokes provided by the cast are winners, including a funny reenactment of the iconic scene from "Titanic" during the story of Moses.
As Jesus, Reyes is relaxed but confident. His compelling demeanor and commanding voice make him an ideal leader. Koehler's Judas is passionate and intense, which provides a good balance to Reyes.
Several cast members shine in Schwartz's most memorable numbers, in particular Lateefah DeVoe and Ann Fraser Thomas taking the lead for "Bless the Lord," and Jessica Gisin-Mosley's "Day by Day." Another impressive element is Christopher Beyries' set, a New Orleans street ravaged by the elements, with one wall marked by the familiar painted numbers signaling rescue teams looking for survivors. Hurricane Katrina is an inspired choice for a "Godspell" locale, and even though the disaster is only occasionally referred to during the performance, Beyries' set is a constant reminder of its devastation.
In the end, "Godspell" is about hope, and there's plenty of that here--along with loads of fun.
Jeff Favre is a freelance entertainment writer based in Los Angeles. |
