‘Godspell’ good news

Press, 23 November 1981, Page 6

‘Godspell’ good news

“Godspell,” by John-Michael Tekelak, music and new lyrics by Stephen Schwartz, directed by Penny Giddens, for the Repertory Theatre, November 21. Running time: 8 p.m. to 10.10 p.m. Reviewed bv Vernon Small.

Why would a theatre group want to revive a rock musical of the early 1970 s which portrays Christianity as a childish romp and Christ as a clown, a work which by all the tenets of fashion ought to be dated by the passage of a decade?

Repertory's production of "Godspell" proved such scepticism ill-founded. After an initial, rather self-conscious, piece of “acting-not-acting,” the first chorus set the scene for some fine, energetic song and dance displays. Unfortunately, the solo voices rarely matched the quality of the chorus singing, but exceptions would have to be made of Peter Hewson and Nick Reece, the former for his rich and expressive treatment of “Prepare Ye the Way of the Lord,” the latter for her raunchy cabaret version of “Turn Back. 0 Man.” The whole cast should be praised for not once appearing breathless after some

frenetic, if conventional choreography, that went without a hitch. Sarah Davidson's dancing was mesmerising. The bridges between the songs almost became predictable, especially in the first half, and on the night Jesus’ voice seemed to lack a little authority and expression. However, Kevin Potter had other strings to his bow to compensate for this, from tap-dancing to prestidigitation.

By the internal it was clear that the audience had enjoyed the colourful romp through the parables of the Gospel according to St Matthew, but it was equally clear that something more would be needed in the second half. Penny Giddens’ production managed to draw a more committed, emotional response, after the break. The temptation of Christ in the wilderness; and His suffering on the Cross were extremely powerful scenes.

The procession of the crucified Christ was movingly portrayed with Judy Gibara’s grief totally convincing and in stark contrast to her comic role. Earlier, she had

used an ill-fitting 19205-style dress to good, humourous effect, and by the simple utterance at one goatish bleat had raised the loudest laugh of the evening. The ending must have given the producer some sleepless nights trying to reconcile the dramatic climax effected by the death of Christ with the theological necessity of depicting the Resurrection. On the night the transition was a little too sudden and shrill. Perhaps.a quiet return to the stage followed by a delayd appearance of Christ wo'uld better serve the needs of drama and theology.

A final word should be reserved for the band,, the unseen part of this musical, which under the baton of Philip. Norman was always tight and pitched at just, the right volume, hot always easy in a rock musical. However, the most ‘vivid memory of the evening is still of Nick Reece’s “Turn Back, 0 Man,” reaffirming the paradox that it is dangerous to preach against sin by using the trappings of evil, because often evil is more attractive on stage than ■ good. . ’ ■