Godspell Reimagined (VAC) – theatre review

Joyful and triumphant, with modern flourishes and contemporary references, a pared back Godspell Reimagined, with a young and enthusiastic cast, makes for a fun night out. Above all, it is the sense of community – a collegiate feel – that prevails.

As co-producer and director Glenn Elston points out, the first act of the musical is based upon the lessons and parables from the New Testament, while the second follows the Passion story through to Jesus’ crucifixion. Elston has taken a production written for 10 performers and a band of at least four (but usually more) and restructured it so it has an ensemble of eight who play, act and sing the entire show.

The set features large lit up drums sourced from a rubbish dump in the Northern Territory onto which locals have painted designs that set builder Mick Pearse then cut out. It is evocative and highly effective. It is also in keeping with the notes that Stephen Schwartz (Wicked), who was responsible for the music and new lyrics, wrote emphasising that the production should be “poor” and “basic”, not new and polished. “There is not many places more poor and basic than a(n) Indigenous community, so I relished the connection of the design style coming from working in the Beswick community and bringing it to the Godspell community,” Elston says. “The design deliberately displays symbols from all types of religious denominations to give no particular faith preference over another.”

The original Godspell opened during the Vietnam War in 1971. It was all about acceptance, living in harmony and taking care of others in a world wracked by division. Today those sentiments have more relevance than ever. One of the stars of the Australian production back in the day was Colleen Hewett. She makes a special guest appearance at the end of this show (becoming performer number nine) and effortlessly whips the crowd into a frenzy with that big, big voice of hers. Before that, though, it is the new breed that makes Godspell its own.

I was particularly taken by the vocal and comic skills and timing of Mark Dickinson (Beauty and the Beast), who plays John the Baptist and, later, Judas. He is a strong and enduring baritone, with a mighty powerful stage presence. Christopher Southall binds the production together – the storyteller and the peacemaker, who preaches love and understanding. He is Jesus. The three young women in the cast – Bonnie Anderson, Louisa Fitzhardinge and musical director, keyboard player and vocalist Lucy O’Brien – each have their time to shine and that they do. And let me not overlook the contributions of the three additional male vocalists, Sam Jones, also on bass, Ben Yarram, guitar in hand, and Nick Robinson, the drummer.

Choreographed by Sue-Ellen Shook, Godspell Reimagined has many lighthearted moments that the audience lapped up, including a plethora of play-acting and references to modern politics. Donald Trump gets a really good working over. Notwithstanding its theme of universal brotherhood, this representation of the Gospel of St Matthew is often laugh-aloud funny and it also involves some audience participation. On opening night much loved entertainer Debra Byrne was present and was one of those called up onto the stage.

Eight songs in the first act and seven in the second include the huge hit Day by Day (still a real crowd pleaser) and rock ’n roll music set to lyrics from traditional hymns, together with a rap number. Godspell circa 2016 is delicious, delightful and uplifting entertainment in the face of hatred, bloodshed and religious and cultural persecution. If only the world was really a better place but, if anything, it appears to have gone backwards over the past 45 years!

Godspell Reimagined is playing at the Fairfax Studio at Arts Centre Melbourne until 6th November.

Alex First