Godspell @ Artisan Center Theater
—Jan Farrington
In the 1970s and beyond, productions of the musical Godspell tended to follow the same pattern of finding a “now” and “with it” way to tell this musical story of Christ and his band of followers. Back then, hippies and happy street people made a natural setting for Jesus the street preacher (the 1973 film featured a young, Garfunkel-haired Victor Garber in a Superman T-shirt).
So…why not feel free do something different now, something that reflects our own times? Why not, for instance, plunk it down at the “Good News” media company in Silicon Valley—among the new generations who fill its halls and offices (complete with basketball hoop)?
At Artisan Center Theater, a dynamic young cast directed by Renee Norris throws themselves into just such a version of Godspell, and comes up with exactly the right vibe: open-hearted, wide-eyed, emotional, ready for something to fill their hearts and lives. A Jesus figure, maybe—only not a copy, but the OG, played with gentle charisma (and a great beard) by Matthew Bird.
Based heavily on texts directly taken from the New Testament, Godspell (it’s a variation on “Gospel” of course, but you could translate it as “God spiel”—the persuasive patter of Jesus pulling them toward his principles and ideas) began life in the early 1970s as a student production (conceived and directed by John-Michael Tebelak) at Carnegie Mellon University, and migrated to New York soon after. Young songwriter Stephen Schwartz added music and lyrics in a grab-bag variety of styles, from ballads to rock to soft-shoe. (He went on to write Pippin, Wicked and many other shows.)
It’s hard to be entirely sure from a seat in the audience, but what I saw at ACT was exactly what should have been there—the feeling that a somewhat random group of actors had become a community. Over time, I’ve seen several casts of Godspell at work, and found it’s a show that has an almost irresistible spiritual pull. From the eye contact, the heads leaning on shoulders, the easy, friendly body language of the actors onstage, I could see they’d found something important in this old story, something that enriched them every time they were onstage. That’s good direction, in part (again, direction by Renee Norris with student director Dominic Norris), but also a “mojo” that lives in the piece itself.
Choreographer Autumn Robinson found a regular-folks style that was lively and fun: hands clapping a rhythm on an office conference table, rolling chairs used in movement, pairs swinging around in square-dance style, etc. Together, the ensemble contained a bunch of strong voices—kudos to all, and to music director Thomas Bartke’s input and crystal-clear sound. When one or two performers took the spotlight, they were a pleasure to hear. Lydia Lippincott did a lovely job with “Day by Day,” and Maranda Barris made us sit up with the first lines of “Prepare Ye (The Way of the Lord).” Tony Bartke hopped on a table to sing a strong “We Beseech Thee” and Nathanael Clark touched hearts in “All Good Gifts.” Savannah Ferrell was a happy presence in Act One and effectively transformed into a corporate villain of sorts in Act Two.
Matthew Bird’s true, light voice was just right for his songs (“Save the People,” “All for the Best”), and surprised us in his fierce, frustrated delivery of “Alas for You.” He was a playful partner in acting out many of Jesus’ stories-with-a-message (aka the Parables), but was serious (especially face-to-face with individual actors) at the right moments. I’m of two minds about his hipster moustache and beard. They were impressive, but literally hid his facial expressions and made him rely more on eyes, hand gestures, and body language to connect with the other characters.
I recommend this show, but with an asterisk: apparently, even 50 years later, Godspell is still not for everyone. I sensed a split audience—many of us into the work and its messages, others giving the side-eye to what is still (even with Silicon Valley in the mix) a hippie-dippie version of the Christian story. To the grumpy sixty-somethings sitting next to me: Grow up. Jesus isn’t always that guy in the shining white robe. Sometimes, as another pop song goes, God shows up as “just a slob like one of us.” It’s all good.
WHEN: July 7-August 12, 2023
WHERE: Artisan Center Theater, 444 E. Pipeline Road, Hurst TX
WEB: artisanct.com
