Godspell (May Contain Spoilers)

Bucyrus Little Theatre put on Godspell this weekend (August 1,2, and 3) and this coming weekend (8,9, and 10). Godspell was originally produced in 1971 on the New York Stage by Edgar Lansbury, Stuart Duncan, and Joseph Beruh, and it was a graduate thesis for creator and director John-Michael Tebelak. Music and new lyrics except for "By My Side," which was written by Jay Hamburger with music courtesy of Peggy Gordon, were written by Stephen Schwartz. It tells the story of the Gospel of Matthew.

Dann Johns's interpretation of Godspell was simple but creative and street-smart. The costumes the actors wore were bold, bright, mismatched, and colorful. Even though the time in the program was stated as "Now," and the setting "Anywhere," I would have interpreted it as having taken place in the 1980s on a street corner, as the setting consisted of a bench, several platforms, and a fence. It could have also taken place at a basketball court, a campground (plus or minus the campfire), or a playground. The style of the costumes solidified my impression of this show having taken place in the 1980s on a street corner. Perhaps "Now" and "Anywhere" were intended to invite the viewer's interpretation of the time and setting. I certainly took advantage of the invitation, and I sure think a campfire on a street corner would be a great yet unconventional way to pass the time, particularly if you're looking to go camping.

Another interesting quality I noticed in the production is that the cast members were referred to as their real names, rather than their respective characters' names. Jesus (Sheldon White), however, was generally referred to as "Jesus" or "Master." But this didn't make a difference in the overall production, which I enjoyed, though the second act starting with "By My Side" brought me to tears (though I could have easily started crying during Lamar's (Joel McDaniel) beautiful rendition of "All Good Gifts"). Another song that brought me to tears, mostly due to the harmonies, was "On the Willows," sung by band members Mark Heydinger (who also lent his talents as the music director of the show) and Paul Myers.

One problem I had with the production, however, was with the number "All for the Best." While this was one of my favorite numbers on the show, as it was one of the most fun (I was dancing in my seat during this number), I could barely hear Judas/John the Baptist (Aaron McNulty) as he sang his part, especially when Jesus sang over him. This was especially sad because I heard Judas/John the Baptist really well when he sang the beginning number "Prepare Ye, The Way of the Lord." Another problem (and I would probably consider this more nerves than a problem) was during "Turn Back, O Man" when Sonia (Carissa Cantrell) forgot the words to part of the second verse. But I'll give her the benefit of the doubt, as it could have been the nerves and the frustration that can come with remembering lines and lyrics talking, she didn't show any obvious (or subtle, for that matter) signs of stumbling, and she performed the song really well and did a good job engaging the men in the audience. (Did you know that Madonna also played this role?) I guess I could also give Gilmer (Kristie Corney) the benefit of the doubt for singing her number "Learn Your Lessons Well" off-key, as it could have been the nerves talking, though she didn't forget the words.

The strobe light during the latter part of the second act was really cool during the finale of the show. It helped to offer the effect of a turn of events as Jesus lay on the cross dying. I could, however, hear one or two of the actors besides myself crying.

The verdict? A light-hearted yet moving show with catchy songs, a musically talented band, and a talented yet half under-18 cast. If I had the money and some friends, I would gladly see this show again, even though I will again secretly wish I had gotten cast in it.