REVIEW: "Godspell"

I'm one of those rare theater geeks who's managed to escape the seeming inevitability of seeing or participating in a production of "Godspell." After at least a decade of theatrical involvement, the current Broadway revival of the 1971 musical by Stephen Schwartz (of "Wicked" and "Pippin" fame) was my first taste of the show that has become a rite of passage for so many in community and high school theater. And while many critics turned up their noses at the modern take of the show that took Broadway by storm in the 70s, this production is easily accessible to everyone -- devout and or not -- and will undoubtedly be an exciting introduction to theater for a new generation of young fans.

Times have changed drastically since the show's initial debut, leaving modern productions with a major challenge: How do you make the Gospel according to Matthew relevant to a 21st Century audience? Director Daniel Goldstein's answer is to add references to Steve Jobs, Facebook, and Occupy Wall Street, modernize Schwartz's score to include a rap number and to hire an energetic, diverse and wildly talented young cast. It's a trifecta that makes for an irresistibly exuberant revival. There are a few moments of overwhelming, cloying cuteness, but for the most part, the cast strikes a comfortable balance between cheeky comedy and sincere substance.

Hunter Parrish (“Weeds,” “Spring Awakening”) plays Jesus with a modest charm, as he leads the ragtag group of Apostles through their Biblical lessons with a gentle, guiding hand. Wallace Smith is the only other player with a clearly defined role – two, in fact – splitting his talents between John the Baptist, and later Judas. The rest take on different roles during each parable, singing the script’s overt religious praises with a lighter tone.

Familiar tales of Lazarus, the Good Samaritan and Pharisees and the tax gatherer and are injected with a contemporary twist, each funnier than the last. In the modern telling of the parable of Lazarus, the unnamed rich man is transformed into Donald Trump, who ends up in hell with the likes of Kim Jong Il and demands to see Abraham’s birth certificate. The cast pulls audience members on stage to help tell the Parable of the Good Samaritan through a series of schoolyard games (remember Pictionary and charades?), and the Sower of the Seed story includes references to Charlie Sheen and Lindsay Lohan, But even though the stories take on a humorous tone, the cast delivers their lessons with sincerity.

“Godspell’s” loosely structured book allows for wide interpretation, leaving only the moments before the songs scripted. The Circle in the Square Theater works exceptionally well for this, aided by an obviously cohesive vision shared by director Daniel Goldstein and scenic designer David Korins. The stage includes more trapdoors than solid stage, revealing a pool of water, holes for props and a piano and even (gulp!) trampolines. Choreographer Christopher Gattelli was in on this vision too, and employs full use of the theater-in-the-round, sending the cast every which way during the musical numbers. It makes for both an invigorating and exhausting performance (I actually felt dizzy by the time we reached intermission). You’ll be buzzing about the show on the subway ride home, but prepare ye for a nap after that.

The energetic ensemble is what makes this production truly exceptional. Each has their own gift from, well, you know who, and gets their moment in the spotlight. With a rich and rugged voice, and a cool masculinity, Smith fits comfortably into dual roles as the best friend and betrayer to Parrish's Messiah. The pair playfully embraces the Vaudevillian-style of "All For the Best.”

Newcomer Celisse Henderson and Lindsay Mendez, both have powerhouse voices that joyfully bring the theater to its knees in praise in back-to-back numbers "Learn Your Lessons Well" and "Bless the Lord." Ana Maria Perez De Tagle delivers the show’s signature song, “Day by Day,” with surprising tenderness for someone making her Broadway debut, and Morgan James sizzles in “Turn Back, O Man.”

Telly Leung (who you may recognize from “Glee,”) has the voice of an angel and devilishly funny wit. He easily won me over with his sparkling falsetto as well as his rapid-fire impressions from "Rocky," "Gone With the Wind," and “Dirty Dancing” in the parable of the prodigal son. Even sweeter, Leung also dedicated his performance to his high school chorus teacher, who happened to be in the audience during the production I saw. Adorable. George Salazar has a gift for physical comedy that rivals that of all three Stooges. He’s vocally solid on “Light of the World,” when he invites the audience down for some celebratory wine during intermission.

Uzo Aduba is definitely one to watch on the Broadway circuit. She has sharp comedic chops and the ability to bring you to tears in the same performance. In the second act, while playing the role of the adulteress, Aduba attacks "By My Side" with such ferocity; it haunts you the whole way home from the theater. In the more solemn second act, Nick Blaemire’s rendition of “We Beseech Thee” is a welcome relief. He manages to lead the cast through the joyous ditty while simultaneously playing guitar and performing spirited trampoline choreography.

At the height of all the excitement, Parrish gracefully brings the mood down his dulcet solo, "Beautiful City." The first lyrics had barely escaped his lips when I felt a physical shift throughout the theater. It was one of those moments where you feel the hair pull straight up off your arms and into the air, and the tears pour down your cheeks and plop onto your program -- and you're not entirely sure why. And it doesn't matter that there are people around you. And it doesn't matter that they can see your vulnerability. And it doesn't matter that they can hear you stifle a sniffle. Because they're not judging you for it. No, they're theater people too, and they understand that when a moment of pure Broadway enchantment takes hold of you by the soul and you're paralyzed by wonder, it makes it momentarily impossible to contain your emotions. And that, in itself, is magical too.

The production is not without its flaws, but he who is faultless, cast the first stone against this beautiful resurrection of “Godspell.”

LIVE BLOG: 66th Tony Awards

Another year, another night to celebrate the best of the best on the Great White Way! Once again, I'll be live blogging/tweeting the Tony Awards. Feel free to join in via the Live Blog below or on twitter @kathylaluk with the hashtag #TonyAwards.