Academy’s Godspell Is Fun and Whimsical

In response to Christian criticisms of the portrayal of Jesus Christ put forth in Godspell, composer Stephen Schwartz added the following note to the script: “Godspell is about the formation of a community which carries on Jesus’ teachings after he has gone. In other words, it is the effect Jesus has on the others which is the story of the show, not whether or not he himself is resurrected. Therefore, it is very important at the end of the show that it be clear that the others have come through the violence and pain of the crucifixion sequence and leave with a joyful determination to carry on the ideas and feelings they have learned during the course of the show.”

It seems the Academy Players took these words to heart; from the start, they set out to mount this production of Godspell as a means of giving. All proceeds from the show go to Heavenly Gingers, a scholarship fund founded in the memories of Jessica Morris and Keri Anne O’Donnell, two young ladies who shared a love of the arts and who died tragically before their time. The cast wears butterfly pins throughout the performance as a nod to the organization, and these are also available to audience members for a donation. To further their commitment to supporting young people’s involvement in the arts, each performance also features a 50/50 raffle to benefit a different local school’s drama club.

Godspell was the first show Stephen Schwartz composed to hit Broadway in 1971. Based primarily on the Gospel of Saint Matthew, the musical relays a series of parables told by an ensemble portraying Jesus and his disciples in modern wear (at the time of its premiere, they were hippies). The modernity of the production doesn’t stop there; through its every iteration and revival, Godspell has been updated for the current time, and the door is left open for even more modern and localized references. In this version, there are references to Trump and even the current Stop and Shop strike.

It is no surprise that Godspell started essentially as an experiment by drama students at Carnegie Mellon, spearheaded by book writer John-Michael Tebelak as his master’s thesis project. This is exactly the vibe the show gives off: a bunch of theater kids goofing off, telling these stories through improv and theater games, assisted only by playground equipment and their wit. Each member of the ensemble gets their moment to shine. Such is why this show is a staple for community and school theaters: it requires minimal sets and costuming, allows everyone in the cast to have their moment and above all, it’s fun. The audience gets to be a part of the fun as well; this show has a fair amount of audience participation and interaction. Be warned: If you’re in the front row, you may be pulled on stage for a game of charades or Pictionary.

Heading the cast as the Messiah himself is Will Walmsley. This Jesus comes across as a gentle soul, and his rendition of “Beautiful City” is truly moving. Opposite him is Heneh Urizar as troubled traitor Judas. Though the less story-based nature of this show doesn’t allow him the complexity that, for instance, Jesus Christ Superstar does, he still exhibits the rising inner conflict that leads him toward betrayal. Rounding out the rest of the disciples are Justina Paolucci, Markia Furtado-Rahill, Lauren Vine, Jonah King, Zach McGetrick, Rachel Erwin, Megan Mahoney, Zion Hall, John Powers, Maddy King, Courtney Contente and Haley Bourne. The disciples each exhibit childlike wonder and excitement.

This cast features some multi-talented members, who in addition to having strong voices, are  accomplished dancers, as seen in the tap number “It’s All For the Best” and Maddy King’s lovely dance solo in “By My Side” (choreography by Julia Gillis), and in some numbers, Megan Mahoney kills it on the keys.

There are some issues with sound balance; the soloists are often drowned out by the background vocals and the band. This isn’t unusual for a community theater, but it is unfortunate, considering there are some fantastic vocals happening.

The lighting design (Kenny Tang and director Allii Fontaine) is commendable, adding to the intensity of the Pharisees questioning and the crucifixion. There is also a moment where the stage is dark except for light from the cast members’ cell phones, which creates a creative and visually compelling effect.

Godspell is, at its core, fun and whimsical, which seems like an odd way to describe a story that ends (spoiler alert) with its main character’s death, but even in the end, there is, as Stephen Schwartz noted, “a joyful determination to carry on the ideas and feelings they have learned during the course of the show.”

Academy Players of RI present Godspell through April 28. 180 Button Hole Dr. Bldg. 2, Providence. For tickets and more information, call 401-830-088, Email: academyplayersri@gmail.com or visit godspellri.brownpapertickets.com