In a darkened and dilapidated Aussie pub, a man in the best embellished green velvet blazer you’ve ever seen wanders in and begins to tinker at the upright piano. Fluorescent signs thrum to life along with a bewitched jukebox, and gradually, a group of all-singing, all-dancing friends assembles amongst the strewn toilet paper and fallen garland of progress pride flags. Their enthusiastic ringleader wears a cape and a shimmering mother-of-pearl-esque jumpsuit suit with metallic heart across their chest. No, this isn’t Mardi Gras kick-ons at the Bearded Tit. This is Jesus and his (or her, or their?) disciples.
Composed by Stephen Schwartz (who picked up Grammys and Tonys for shows like Wicked and Pippin) and drawing on New Testament parables, Godspell first hit Broadway more than half a century ago. It has gained legions of fans and foes ever since. And now director Richard Carroll (Calamity Jane, Spamalot) is casting a new (holy) light on this gospel rock cabaret at the Hayes, Sydney’s humble heart of musical theatre. With a cool, functional set designed by Emma White (The Deb) and costumes by Angela White (costume designer to Jessica Mauboy and Trevor Ashley), Godspell is a visual feast with many talented cooks in the kitchen. But there’s some missing ingredients that could’ve made this last supper one to really savour.
While the biblical elements might be off-putting to some, the stories explored here can be read as generalised lessons in how to just be a good person (because you may get a reward in the afterlife). And Jesus was, arguably, a pretty cool and progressive guy. Billie Palin (HMS Pinafore, Dubbo Championship Wrestling) channels a likeable, energetic, sort-of gender-neutral Jesus figure whom you could definitely imagine whipping up a frenzy as a youth group leader. Arguably, it's pretty cool that this show places Jesus as a being beyond gender.
It's pretty cool that this show places Jesus as a being beyond gender.
Godspell is armed with a ridiculously talented cast, who interchangeably tell stories, sing songs and swap musical instruments between them (including a piano accordion and a ukulele banjo, impressive). The production is at its best when it gives itself permission to be experimental; a makeshift puppet show is a highlight, (and would make a great audition tape for a grown-up version of Play School), as well as a moment involving a travelling keyboard. Meanwhile, the music is at its best when the full force of the ensemble is deployed, harmonising in unison (something which is underutilised for much of the first half). Stefanie Caccamo’s (Lizzie) soaring vocals on ‘All Good Gifts’ deserve an honourable mention, as well as the lovely way the cast unifies in ‘Beautiful City’.
Godspell is challenging theatre in that it doesn't have a clear plot or characters. Hailing from a similar vintage as Andrew Lloyd Webber’s Jesus Christ Superstar, this show is overtly religious in a way that Superstar isn’t. While the latter can be taken as an interesting story about an interesting guy, this show is more about the parables than the narrative, which doesn’t necessarily lead to an emotionally satisfying payoff.
While Jesus is the posterboy, and one of the only named characters, the Son of God isn’t the main attraction here. Everyone gets a turn in the spotlight, with the help of Sally Dashwood’s choreography, and Jesus often slides in to join the chorus – perhaps a tactic to show that great leaders or great orchestrators are also part of the team? There’s a correlation here with musical director Victoria Falconer, who also functions as part of the cast while intermittently playing various instruments, including a visually striking laser harp.
If you can get past the initial energy of the performance, which feels akin to an over-excited group of musical theatre enthusiasts in a glee club, you are in for moments of brilliance. For this reviewer at least, it could be condensed into a one-act show without losing anything essential – including memories of the bible study gathering I was tricked into attending in high school with promises of lollies.
By placing the action in what could very well be a gay bar (think the Imperial Hotel in Erskineville before the facelift), this production does go a way to hand this show over to the misfits who have found solace, if not in religion, then in musical theatre. Godspell has been described as sorta like Cats, but with faith instead of felines. The characters and plot might be even more opaque in this biblical medley, if that’s even possible, and there is a missing depth of emotion that just doesn't take this show over the line. Great performances though.
Godspell plays at Hayes Theatre Co, Potts Point, until Nov 6, 2022. Get your tickets here.
