GODSPELL: A FUTURISTIC INTERPRETATION

GODSPELL: A FUTURISTIC INTERPRETATION
F. J. Hartland

       Pittsburgh Musical Theatre and director Ken Gargaro give us a futuristic interpretation of the now-classic musical Godspell.  It is a world where (according to the program notes) “unexpected incidents of domestic terrorism directed at our financial institutions have occurred.”

            Accordingly, Gargaro has set this updated version in New York City, and the Gospel of St. Matthew is played out in front of the Stock Exchange. He has also peppered it with numerous jabs and references to current celebrities and advertising slogans.

            This production has a scope and sweep more befitting Jesus Christ Superstar than Godspell.

            Jesus needed but twelve disciples.  This production requires triple that number.  Performers come and go so quickly, it is hard to build any kind of feeling or empathy for any single one.  Also, there were numerous microphone gaffes on opening night rendering some of the performers inaudible.

            Scenic designer Alfred Kirschman has created a faithful and multi-leveled New York Stock Exchange.  The detail is breath-taking.  There is also a huge video screen projecting stunning images—making this, perhaps, the power-point version of Godspell.  While that is in keeping with Gargaro’s vision, it’s distracting.  I found myself watching the screen instead of the hard-working cast who were singing and dancing their hearts out far below on the stage floor.  It is also a shame that more action wasn’t set on the upper level of Kirschman’s spectacular set.

            Lighting by Todd Nonn was very effective with the possible exception of the Crucifixtion scene.  Banks (and I mean BANKS) of bright, white lights are focused directly into the audience.  And there’s a reason that kind of light is called blinding…I was completely unable to see anything—not Jesus, not the disciples, not even the video screen.

            Jesus is played by Peter Matthew Smith.  He has a beautiful singing voice and a charismatic presence.  Unfortunately, he had some big stumbles early in Act Two.  It was a shame in such a charming performance.

            Other than Jesus, only two other characters are identified by name—Judas and John the Baptist.  The rest of the cast is listed only as “Ensemble,” and no one is identified in the list of musical numbers.  So…the best I can do is say  that the young woman who sang “Day By Day” has an incredible voice that made that simple song shake the rafters of the Byham Theatre.  The two young men singing “On The Willows” did a beautiful and emotionally moving job.  And the woman who performed “Learn Your Lessons Well” had not only a powerful voice—but loads of stage presence.  I wish I knew who you all are, so I could use your names and give you the credit you so richly deserve!

            The telling of the Parable of the Good Samaritan (done as Sesame Street) was quite charming.  The Parable of the Prodigal Son was also clever—but went on too long.

            Under the baton of conductor Brent Alexander, the on-stage musicians gave the show a wonderful techno sound.

            There is no denying that there is a treasure trove of talent in the Pittsburgh Musical Theatre’s production of Godspell.  But the show Godspell derives its charm from telling a powerful story with simplicity and intimacy.

            Sometimes, less really is more.

            Godspell continues at the Byham Theatre through April 26.

This entry was posted on 4. May 2009 at 18:02 and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response or trackback from your own site.

| Print