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.