Godspell Reimagined

http://www.sydneyartsguide.com.au/godspell-reimagined-the-playhouse-sydney-opera-house/Oh dear. Sorry readers, but yes, while it opened appropriately enough on Ash Wednesday, the beginning of Lent, this production of GODSPELL REIMAGINED-based on Stephen Schwartz’s (Music and Lyrics) and John-Michael Tebelak’s (Book) classic musical, is unfortunately a Godspell dumbed down’ for the masses. The cast is good and there are some nifty lighting effects especially in Act 2 however unfortunately there is a rather juvenile approach to the whole show. While yes, the idea is great to update the show so that there are contemporary references, (for example, John ‘taking a selfie’ with Jesus and references to Donald Trump and the Tinder website), some of the gags are in bad taste and repeated unnecessarily. In the telling of the parables everything is spelled out laboriously as if for a very young audience just past Playschool age. The music has been reworked to have an over amplified rock opera feel with a heavy emphasis on blistering electric guitar work. There is no consistency. Alas For You however in Act 2 is given a Latin-American feel including the use of bongo drums wheeled on specially, which quite changes the feel of the song. A lot of the songs, usually thought to be solos, were here inexplicably performed after the first verse as full out ensemble work, at times greatly changing the mood of the particular song. The young, multi talented cast perform terrifically with great commitment, energy and enthusiasm , struggling valiantly. The band members are included as members of followers of Jesus and are involved in the telling of some of the parables. The choreography by Ellen Shook was effective but stilted and cliched. The set was flexible with a raised platform area for the musicians. The set mostly consists of a few 44 gallon drums, some cut to provide varying stage levels , painted in neutral tones , covered in assorted religious and philosophical images, which act as storage for various props and costumes as well as seating. There was sort of abandoned warehouse or backlot feeling to the whole setting. The show begins with the cast all elegantly booted and suited as salesmen, feverishly pitching consumerism , they then strip down to close to underwear and dig out the assorted motley of costumes– various jackets , hats etc in the drums. Is the implication that they are meant to be strolling players? Jesus was well played by handsome Christopher Southall, a fine actor with a delightful tenor voice , wearing a vibrant tshirt and elegant black leather pants and boots. I couldn’t quite understand the channeling of Sir Robert Helpmann and the Easter Bunny rabbit ears in his excellent solo It’s all for the Best? Mark Dickinson, tall, leonine and elegantly bearded, doubling as John and Judas, had a commanding stage presence. In contrast to Southall his voice has a somewhat darker deeper tone. Dickinson and Southall act as great foils during the show. For the women, Louisa Fitzhardinge is terrific, delightfully singing On The Willows and impressive in the Learn Your Lessons Well. Louisa also plays a huge variety of other characters ranging from sheep , Pharisees and Trump. Lucy Gransbury is a little more worldly wise and saucier in her vivid range of assorted portrayals although her leading the of the spicy Turn Back O Man came across a bit flat and mechanical though she nailed the song’s sultry jazz aspect. The show’s mostly joyous and light hearted atmosphere changes at the end and we are left with the sombre, dramatic representation of the Crucifixion. This production (producers Simon Myers and Moira Bennett), directed by Glen Elston, was a valiant effort, and the younger members of the audience seemed thrilled , but it just didn’t work. Running time 2 hours including interval. GODSPELL is playing at the Playhouse, Sydney Opera House until the 14th February.