Godspell

Critiqued by Holly Bartges

When everything is a joke, then everything is joke. Unfortunately, the majority of The Aurora Fox’s production of Godspell leans heavily on slapstick comedy, losing its punch. The technique required for the deliberately humored Godspell somehow gets lost in the process.

Godspell at the Aurora Fox.

The script for Godspell leaves the door wide open for production companies to be as creative as it owns the capacity. It has been set in a mental institution, an airport, even a McDonald’s. The sections are so designed the company can use as many theatrical techniques it chooses from vaudeville, slapstick, soft comedy, serious, radio, circus, television sit-com, and happiest when it employs a vast array of techniques. Slapstick is an art form not every actor can master, and when it isn’t mastered, the timing gets its wires crossed, which is exactly what happens with this production. The result is boring.

Directed by El Armstrong, making his directorial debut at the Aurora Fox, he does have some good things going for him. The cast is endowed with gorgeous singing voices, supported by a gangbusters orchestra under the direction of David Nehls on the Keyboards; Austin Hein, Bass; Scott Smith, Guitar; Tag Whorley, Drums; and Jacob Krimbel, FOH Mix. The music and voices are superb. The staging just leaves a great deal to be desired.

This production takes place under a Freeway. No problem there, except, why? Jen Orf designed the set, and the set works perfectly until the show begins. Who spends time under a Freeway? Homeless? Erin Leonard designed the costumes, which are OK, but the costumes and the under-the- Freeway motif don’t mesh, leaving the question begging why under the freeway, and who are these people?

Godspell, an archaic spelling for gospel began its life as John-Michael Tebelak’s college project at Carnegie Mellon University, Pittsburgh, Pennsylvania in 1970. The structure is rather simplistic stringing parables mainly from the Gospel of Matthew with modern music using lyrics from traditional hymns from the Episcopal Hymnbook. Before it became a smash off-Broadway hit, the book and the music went through a variety of changes with the music running the gambit from folk, rock, jazz, and pop.

The characters are identified by the first name of the actors except for Jesus played by Patric Case, and Jake Williamson who plays John The Baptist and John. It is also clear the actors aren’t dancers, and choreography by DeAndre Carroll, demanded simple, and consequently leaned toward an uninteresting level. This production is easy on the ears, wondrous to listen to, music-wise, but not quite as easy on the eyes. Because the timing is off during most of the show, it is uncomfortable to watch; the comedy anything but laughable.

Godspell followed on the heels of the highly successful Jesus Christ Superstar, which continues to tour the globe with the now too old 65-year-old Ted Neeley still playing the role of Jesus. He should have been replaced years ago, but that’s another story for another time.

Godspell remains a favorite with schools, and small theatres, but it calls for a highly creative production staff, to entice it to explode into life. No question, the Aurora Fox’s production team is creative, having witnessed their work in other arenas, but the creativity, thrill and excitement certainly didn’t spill over to this production. Aside from the music and the lyrics, the cast appears to be walking in a daze wondering if they are funny. The answer is an obvious no.

The simplified choreography appears to have no direction with the wrong em-PHA-sis on the wrong syl-LA-ble. From beginning to end, it appeared throughout the show, there was no building toward anything, no structure, too much repetition, too much the same. Rhythm and tempo bent to the music, but only as a token, not with any heart and soul.

Chelley Canales led the company in the most popular song of the musical Day By Day. Would that the spirit she grabbed this song with had grabbed everyone during the performance. Nothing seemed to be grabbing anyone. On the one hand there was the “look at us, aren’t we funny? Isn’t it a scream we can treat the Scriptures like this?” And at the same time hesitancy "squirreled" throughout the cast creating the feeling “we’re not sure we should be doing this. We’re not certain we can do this.” They grab at the vignettes and then drop them as though too hot to handle. When actors think they can hide elements, those are the very elements that stand out. Funny how that works, but it does.

The parable of the Prodigal Son simply got reduced to silly, requiring not a great deal of talent. Four year olds are masters of the Silly. They don’t think about it. They just do it. Some actors roll into silly with honesty. If the honesty isn’t there, cracks in the persona rips through the pretend universe.

Debbie Johnson Lee maintains a gorgeous sultry voice, and turned it on full force at the beginning of Act II with Turn Back O Man wandering through the audience. It appeared, however, she flirted with the audience as Debbie Johnson Lee rather than Debbie a cast member.

The use of graphics of strong thinkers and writers across the centuries: Thomas Aquinas, Martin Luther, Leonardo da Vinci, Edward Gibbon, Ron Hubbard, and Jean-Paul Sartre grabbed the attention momentarily. One by one the cast assumes the persons of each, leading up to the company’s breakout of The Tower of Babble, bringing Williamson forward as John The Baptist in Prepare Ye The Way of The Lord. The emphasis caused Godspell to lose out to the sharp thinkers as slapstick crept into the forefront without structure.

Godspell wants to speak toward building a sense of community, of hope for the future by employing laughter as the glue combined with the strong words of Jesus. It is a good thing a sense of community and hope for the future doesn’t rely on this production. The cast speaks of and learns of community, but doesn’t lean into it. Continuity, cohesiveness gets invited to join the party, but is left wallflower style on the sidelines. There is too much individuality standing in the center wondering out loud if they’re cute and funny.

If you go, the musicians and voices will pay for the ticket. Just close your eyes to the happenings on stage.

Godspell
By Stephen Schwartz; Updated Music by Stephen Sondheim
Directed by El Armstrong; Music Director David Nehls; Choreographer DeAndré Carroll