Godspell

First brought to the stage in 1971 Steven Schwartz’s popular musical has never lost its appeal and entering the modern age, Sharnbrook have given it an update with both the script and the casting.  Directed and choreographed by Cleo Carter, It tells the parables of Jesus mainly based on the Gospel according to St Mathew involving ten character who remain on stage throughout. The time period is from Jesus’ baptism and ministry through to the crucifixion with a rather stunning Last Supper tableau towards the end. In this gender fluid version Jesus is cast as female, with a total cast of eight female and two male actors. Apart from Jesus and Judas all the rest of the cast were listed as their real names.

The set constructed by Gerry Stafford, Kevin Beirne, Tim Murden and Paul Robbins and managed by Condoleezza Hankins, was basically a bare stage showing a street scene with a brick wall at the back and a double door in the middle; a grey wall to stage left with a boxed seating area cut into it and a very untidy area stage right littered in clothes, an old wooden stepladder and large grey box to provide further seating. Stairs stage right, with a notice saying platform 2, led up to the galley above with another brickwork wall upon which were two notices reading ‘Hope Street’ and ‘Way Out. The five piece Godspell Band were situated in the galley stage left.

Sound, by Mark Luckin, was, as per usual well balanced and crystal clear. Lighting by Hallam Knightraven and operated by Gabrielle Knightraven, Chris Allen, Benje Cronin and Gail Thorburn brought some new tricks to the party. He used downward spotlights very effectively indeed to create atmosphere, plus two sets of LED lightbulbs in yellow in two rows that ran up the side walls and right across the ceiling that I certainly hadn’t seen done before. Very neat. The prologue, Tower of Babble, sung by the whole cast (but who weren’t on stage until the end of the number) started with a single spotlight on where the first singer might stand and moved to illuminate a different spot when the next singer would came in, and so on until the spotlights illuminated numerous areas when the whole cast would be standing to sing in unison. Great effect and made the eventual entrance of the first cast member, Judas at the top of the auditorium even more dramatic indeed. Very innovative use of a lighting plot!

Costumes were simply provided by the cast, so we had a real mixture of outfits, from a pure white dress for Jesus to a red braided Hassar style jacket and summer shorts for Judas, through to a French beret and neckerchief. A very colourful array indeed.

The five piece band consisted of Andrew Longland-Meech, MD and Keyboard, Samuel Wilthew and Danny Barton Guitar, Colin Woolmer, Bass and Dan Wild on Drums. They were of course the usual high quality I’ve come to expect whenever I see Andrew’s name in a programme across District 2 societies.  Additionally “On the Willows” the penultimate number wasn’t just performed by the band – it was also sung rather beautifully by the band too.

Choreography by Cleo Carter in her first directing role, was particularly slick and she came with some neat ideas and some extremely well-rehearsed numbers. This show is basically a laid back free for all, or so it gives the impression of being, but from everybody appearing scattered around the stage haphazardly, blink and suddenly you are in a precision dance number with everybody on point. And in one solo number I remember where everybody is, you think, lounging around and then you realise they are actually very subtlety finger clicking with a totally coordinated flick of the wrist. This choreography was full of such clever moves.  Another delight was the cast dancing in a figure of eight movement, they shared eye contact and smiles with every move.

The director also used entrances very effectively. From the end of the prologue, we suddenly had Luke Skeel as Judas appearing at the back of the auditorium with ‘Prepare Ye The Way of The Lord.’ Luke, who is in his first show for nine years and is normally, in his daytime role as a drama teacher, on the production side, gave a very powerful, but also a lightly humorous touch to Judas, and great fun to watch.  He captured his struggles with his conscious well towards the end.

The very experienced Kate Brewster was in this gender fluid production a very plausible, compassionate and confident Jesus, again played with humour and a great voice as demonstrated in ‘Save The People’ and ‘Beautiful City.’

The whole cast were a definite unit drilled to perfection and all had a chance to demonstrate their singing talent such as Molly McCarthy with ‘Day by Day,’ Leisa Keightley with ‘Turn Back O Man,’ Katy Ellis- ‘By My Side,’ Kim Vaughan – ‘Learn Your Lesson Well,’ Jenny Tymon-Robins – ‘All Good Gifts,’ Davina Beegoo-Price – ‘Light of The World / We Beseech Thee,’ Clare Patrick – ‘Bless The Lord,’ and Colin Mosley adding his voice to all the choral numbers. A lot of it both moving and entertaining at the same time. Excellent job all round.

This production as I said earlier advantage was taken of the opportunity to update the script and often to much merriment, especially the obviously references to the current incumbent of the White House, complete with red baseball cap. The hard work and hours of practice that had been put in to get the show to this level just reinforces my conviction that the standard difference of acting between amateur and profession theatre is negligible. So congratulations to the cast and crew and I think Cleo Carter can be rather proud of this one and I very much look forward to seelng any future shows she either directs or choreographs.

Thank you also to the FOH staff for your usual hospitality. Always a pleasure to visit.

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