New touches at Playhouse spruce up old ‘Godspell’
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Tom Titus
The word “concept” is a rather sophisticated term used in the
entertainment media as a catch phrase, embodying a director’s vision
of a particular project in the theater, cinema or television.
Some, probably most, plays are tightly structured to follow
certain well-defined patterns en route to their preordained
conclusion. Others are fair game for an imaginative director and
choreographer to let their imaginations run wild. An example of the
latter breed is the musical “Godspell.”
It’s been nearly 30 years since this rock-gospel musical based on
the New Testament book of Matthew first hit the stage, and each
succeeding local production has benefited from directorial imagery.
None, however, has strayed farther afield while still clinging to
its original theme than the rendition now on stage at the Costa Mesa
Civic Playhouse.
Director Kyle Myers and choreographer Megan Endicott have imbued
this version with a theme of revitalization and spiritual rebirth,
using the skid row section of a nameless city as their tapestry. At
the same time, they have mined the veins of pop culture for the
comical addendums that stamp their project as unique and personal.
The performers are listed in alphabetical order, rather than by
character -- actually only three assume defined personages: Jesus,
John the Baptist and Judas. Only by backtracking through the musical
credits can one identify the actor involved in each situation.
In most productions of “Godspell,” Jesus is portrayed as a
youthful, charismatic figure with a colorful Superman “S” on his
T-shirt. In the Costa Mesa version, Stan Morrow III plays the
spiritual icon as a middle-aged, bespectacled, bald businessman. His
logo, unveiled late in the action, is that of the show itself, a
super G.
Somehow, this approach works. Morrow’s magnetism draws the street
people into a joyous familial relationship. Myers and Endicott have
injected a creative vitality into their production that counters the
didactic repetitiveness of the Stephen Schwartz score.
The homeless theme is pervasive. John the Baptist (Richard
DeVicariis) uses a spray bottle for his baptisms.
Superlative dancer Deborah Fauerbach is the lone non-downtrodden
figure, a sidewalk hooker, but her tattered net stockings suggest
she’s working the proper beat.
Some changes aren’t necessarily for the best. Ann-Marie Scott
lacks the vocal power to sell the taunting “Turn Back, O Man” number.
The first-act closer “Light of the World” includes the lyric “Let’s
have some wine,” but unlike traditional versions, no vino is
dispensed at intermission.
Myers has wisely eliminated the time-consuming face-painting scene
that has slowed down “Godspells” of the past. And casting a female
Judas (Olivia Braza) lends an emotional weight to the betrayal
sequence.
The street people concept works best at the opening of the second
act, when the neighborhood’s newfound spirituality results in a
spit-and-polish face-lift. The parables are spiced with TV themes,
such as an extended “Laverne and Shirley” sequence and comical jibes
from more modern fare.
Musicians Derrien Symonds (piano) and Jeff Nelson (drums) do
yeoman duty to keep the tempo humming under the musical direction of
Joyce Maxson. The impressive street scene is the work of scenic
artists Jermain Sherman and Kathy and Steve Endicott. Ryan Hood
contributes effective lighting designs.
“Godspell” may lack the punch it registered as a new commodity
three decades ago, but the show still entertains, particularly with
the imaginative enthusiasm employed at the Civic Playhouse.
* TOM TITUS reviews local theater for the Daily Pilot. His
reviews appear Thursdays and Saturdays.
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