Above: the cast of Godspell. Alfie Gledhill, centre. Featured image: Abe Mitchell and Billie Palin. Photo credit: Phil Erbacher.
There is a new version of Stephen Schwartz’s Godspell worthy of much praise now playing in Sydney. You will be a witness to the spirited spontaneity of its carnival-cabaret-feel-teaching at the ‘Light of the World Bar’, aka Hayes Theatre, Elizabeth Bay.
Post-pandemic, this version of Godspell at Hayes is a glorious event. Its teachings and themes of self-care and care for community are presented in a huge range of entertaining ways.
The musical theatre fave, polished up for this revival, celebrates the intimacy, energy and expansive possibilities of live ensemble performance. The heavenly quadruple-threat troupe performing can all sing, dance, act and play assorted instruments. They will wow you with the sharing and combination of their God-given gifts.
This Schwartzian troupe of parable players help us learn the lessons very well throughout the eclectic romp. They travel through the trinity of decades that made up the life of Christ with impressive momentum and contrast.
Audience are converted into a group of grateful faithful quickly as they are showered in the frisson of classic off-broadway ensemble theatre. This version’s vibe and verve is complete with rapid shape shifts and fluid movement of focus in the tableaux.
Above: Cast members (left to right) : Musical Director Victoria Falconer,Stefanie Caccamo and Jane Watt perfotm ‘Turn Back O Man’ Image : Phil Erbacher.
Fifty-one years on from the Off-Broadway season premiere of Godspell the cast of this production bring us love, hope and learning with a nice modern veneer across the dishevelled nite club set.
Updates from the original productions or many film versions include a contrasting mellow, one-player-at-piano intoning of ‘Prepare Ye’ rather than a group celebration. The usual swagger of ‘Turn Back O Man’ is ramped up with a performance on mobile keyboard reaching out to many ends of the theatre space. Musical Director and cast member Victoria Falconer carves up this number.
As in Stephen Schwartz’s Pippin, which opened on Broadway in 1972, this musical has loads of humour, opportunity for improv and extension of the basic gestures or effect by the cast. This is well managed and explored here.
The character of Jesus Christ (delivered to us by the exquisitely charismatic Billie Palin) as game show host is a great audience participation moment. Shifting characterisations and caricature snippets abound throughout the show. They are energetically drawn with spot-on, engaging accuracy by the vibrant players.
As well as ecstatic group tableaux for numbers such as ‘We Beseech Thee’ or ‘Light Of The World’, there are touching moments of mood change. Hits such as ‘Day By Day’ and ‘Save The People’ are pared down, effectively sung in more intimate moments. Onstage piano, string, brass and percussion instruments played by cast add to the carnival feel, or that of roaming players a fave Stephen Schwartz device from his early shows.
Above: Cast perform with Quinton Rich on vocals. Photo credit : Phil Erbacher.
There is a beautifully updated and effective rendering of Schwartz’s Last Supper and crucifixion scenes, the bar environs becoming Gethsemane and Golgotha. The cast’s unison voice, always clear and evocative, is especially penetrating in the hopeful anthem ‘Beautiful City’ and the descriptive chant from tiring disciples, ‘On The Willows’.
Following all the carnival colour and energy during the show’s parable delivery, the directness and plaintiveness of the finale is a chillingly beautiful ‘hear a pindrop’ moment of theatre. The final ascent through the crowd to the foyer to conclude the show continues the vibe of respect with finesse.
Audience participation abounds to spread the joy and love through the performance. Dance styles from pole to other successful and stunning contemporary genres match the wealth of musical influences employed to enhance this return of Godspell.
Above: Billie Palin in the role of Jesus Christ. Image: Phil Erbacher.
The major take-home is that humanity triumphs as a life-saving religion here. Creatives have blended a warm and eclectic set of costuming and lighting effects from past decades to very now with which to shroud the onstage talent, their supportive sharing and vivid storytelling in.
The solid-rock foundation of such production values and capable performances on offer turns the Hayes Theatre into a church which boldly entices us all to attend and take communion. Don’t miss this pre-Christmas season of the classic show.
Godspell plays at Hayes Theatre, Elizabeth Bay until Nov 6.