The pop-rock musical Godspell, conceived by John-Michael Tebelak with music and new lyrics by Stephen Schwartz, brought the words of the Bible and several of Jesus’ key parables to modern audiences by giving them a more contemporary feel. Director Justin Been contemporised the original by compressing the musical’s timeline to a single day and place — September 11, 2001 in New York City. The concept is risky, and the result is a captivating, emotionally resonant production.
At its heart, Godspell has always been a play that’s more about the meaning and the message, rather than glorification of the messenger. Important moments from Jesus’ story are used to convey the idea that we are not meant to judge but to love and care for one another. That compassion and gratitude are among the greatest gifts we can give and receive. In this production, as in the Bible, not everyone in the crowd is a follower. Some reject Jesus, some are indifferent and, initially at least, only a few seem to listen.
Kevin Corpuz commands the room as Jesus, with an infectious spirit, a winning openness and a smooth, true voice. Naturally sympathetic, he also projects a welcoming warmth that radiates beyond the stage, with a few impressive dance moves that add to his portrayal. More impressively, Corpuz shows a vulnerability and uncertainty in Jesus’ dark moments that I haven’t previously seen him reveal. In an appropriate counter, Alexandar Johnson is more hesitant and visibly less secure as John the Baptist and, particularly, Judas. The contrast works well from an emotional and plot perspective. However, Johnson needs to ensure that every word is audible; audiences want to hear every deep, rich note.
The ensemble members use their own names and have varying contemporary backgrounds and professions, as well as differing familiarity with the gospels. There’s a lovely progression as they transform from indifferent, sometimes annoyed, individuals into a group trying to understand and help each other through an unfolding tragedy. The songs have altered resonance in this interpretation and a number of them hit really hard. Among my favorites are earthy and vibrant takes on “Oh Bless the Lord, My Soul,” Rachel Bailey lead; “You Are the Light of the World,” Chris Moore lead; and “Turn Back, O Man,” Stephen Henley lead. In contrast, “All Good Gifts,” Grace Langford lead; “By My Side,” Dawn Schmid and Sarah Gene Dowling lead; and “On the Willows” Jesus (Corpuz) lead are ethereal gems that elicit tears. The harmonies are well layered, oddly comforting and perfectly accompanied by the reliably good Stray Dog band.
The storytelling plays out simply, almost organically, and is enhanced by strong stagecraft. Rob Lippert’s scenic design is impressively nondescript and quite surprising; Been’s sound design is uncomfortably true; and Sarah Rae Womack’s choreography fits the concept to a T. Although the setting may be triggering for some, the choices are genuinely effective at framing the musical and aided by heartfelt performances. You don’t need to believe to be moved by Stray Dog Theatre’s truly impressive take on Godspell.
Directed by Justin Been and choreographed by Sara Rae Womack. Presented by Stray Dog Theatre through Sunday, August 20. Performance times vary by date. Tickets are $25 to $30.
