Cain Park's 'Godspell' is a godsend Bob Abelman Cleveland Jewish News, The News Herald, The Morning Journal Member, International Association of Theatre Critics Simply mention the title of this show and people who know musical theater will either start singing "Day by Day" or quoting from the Gospel According to St. Matthew. It seems as if the music and message in Stephen Schwartz and John-Michael Tebelak's "Godspell" has remained vibrant and relevant 44 years after it first opened off-Broadway and ran for 2,000 performances. Only its narrative structure doesn't hold up. In 1971, it was at least plausible that a cluster of counterculture peaceniks - who felt alienated from middle-class society, who rejected materialism and repression, and who relished life and love - would gather to share some sacred stories in a communal space in an outlandishly playful way. The streets were littered with peace, love and understanding back then. Today, in light of the recent shooting in the Charleston church, not so much. So when a group of young, exceedingly joyful, racially mixed men and women take to the stage of Cain Park's Alma Theatre, pretend to be Jesus' disciples, act out parables in slap-stick fashion, and break into song without provocation, it's just odd. If ever there was a need for "Godspell's" co-directors Ian Wolfgang Hinz and Joanna May Hunkins to start the show with a viable explanation for who these people are and why they are so damn happy all the time, it would be now. But then the music starts and Warren Egypt Franklin III enters. Franklin, who plays Jesus with a twinkle in his eyes and a body that can't stop dancing, is one of the most exciting, naturally gifted, and well-rounded performers you are likely to encounter on the stage. So when he, an exceptionally talented ensemble (Scott Esposito, Douglas F. Bailey II, Ashley Bossard, BJ Colangelo, Ellis C. Dawson III, Colleen Longshaw, Jade McGee, Treva Offutt, and MacKenzie Wright) and a superb on-stage band (Jordan Cooper, Jesse Fishman, Brian Mueller, Tim Keo and Justin Hart) start delivering Schwartz's gorgeous lyrics and lovely melodies, nothing is odd because everything is so thoroughly entertaining. Adding to the entertainment is Katie Nabors Strong's always interesting choreography, the insertion of very funny modern-day references, and newer arrangements of the songs taken from the 2012 Broadway revival of the show. Colleen Longshaw's gospel-driven rendition of "Bless the Lord" is the best example and a highlight in this production. And for those not immediately drawn in by the music or the message, Hinz and Hunkins give their players free license to directly address the audience and win them over with their immense charm. They also invite audience members onto the stage to partake in the festivities. Vying for the audience's attention this past Friday night was a Herman's Hermits/Gary Lewis and the Playboy's concert happening simultaneously at the Evans Amphitheater right next door. The music that drifted into the "Godspell" performance space from the concert was of the right era but the wrong tempo and temperament and was a huge distraction. And yet, during the somber Last Supper scene when Judas is betraying Jesus, the Playboy's broke into their melancholic hit song "Sealed With A Kiss." Sometimes serendipity has perfect comic timing. If you are attending this production next weekend, be forewarned that the Yiddishe Cup klezmer band is scheduled to perform at the amphitheater. Now that should be interesting. http://www.clevelandjewishnews.com/columnists/