Review: Music the strength of Act Three Productions' Godspell

Jayden Colban plays Jesus in Act Three Productions' Godspell. Photo / Hannah Newman

Godspell
Act Three Productions
Directed by Michael Doody
Until June 4
Reviewed by Tania Kopytko

A young, talented and energetic cast gave their best to a 2022 version of Godspell on Friday. Originally conceived in 1970, with a desire to spread a joyful message, I was intrigued to find out how Godspell might translate in a much more jaundiced world of 2022.

This is an adapted version. It is set in a bar in Palmerston North, with the clock tower featured in the bar mural. That is a nice touch by the set designers Jen Lambert and Michael Doody. At one time the clock tower had a cross at the top and the current lightbox atop the tower is still a reference to that.

Director Michael Doody has put in some clever musical jokes, referencing The Beatles, Elton John, Queen and others, thus giving us some concept of the movement of time since 1970 and providing some added interest and humour. Rap style is used successfully to deliver some dialogue. Basketball and Pictionary appear as dramatic tools. All these variances help the energy of the work and make it more relevant.

However, they add length and emphasis to the telling of parables in the first half and perhaps, in doing that, distract from the work's intention. This then weakens the narrative of the second half, concerned with conversion and salvation, which is the crux of the Godspell story.

There is some wonderful talent among the cast and they show a real drive and bravery to deliver their characters. Congratulations to everyone. This is backed up by a strong on-stage band - Hayden Lauridsen, Craig Buttar, David Papworth, Tony Aspden and Richard Brown. The music and the beautiful harmonies in the choral work show the strengths of the first-time musical director Bronwyn Boddy.

Stand-out performers for me are the two Nicks – Terado Bassett and Matthew Lyne. They work together so well and are natural talented performers who are totally in the moment and in their characters. They are confident, perfectly timed and believable. They never let their characters drop even if they are at the side of the stage. They even coped with interpretative dance.

Emily Andrew gives a strong, convincing performance and her Day By Day was beautiful. But all the cast are great. Logan Tahiwi sparkles and is also a great dancer, Jorgia Redfern, Katie Monaghan, Gemma Humphrey, Shawanda Scanlon-Parker and Leonora Potten sing strongly and dramatically as each of their roles requires. The ensemble was great!

The two key characters have tough roles. There is a lot of critical dialogue that Jesus (Jayden Colban) and John the Baptist/Judas (Benjamin Grant) must deliver. Both struggled at times. Their physical stage presence was charismatic and character aligned, but with time I hope they will settle into their vocal roles more confidently and be in their characters.

When dialogue is rushed, there is a tendency to simply say phrases rather than speak with the intention of the dialogue. But intention must be there, because the rabble must be convinced and converted. It is key to the story.

The strength of this production is the music – instrumental and singing. Less strong is the acting. The major problem with many is a lack of clear enunciation and speaking too quickly, so we cannot understand their lines. At times the choreography by Frankie Curd is strong and clever and relevant to the work, at other times it is a little patchy.

The pace of the show dropped in the second half and the ensemble stage movement at the end seemed to lack direction and intention, just at the critical climax of the story - the crucifixion. Perhaps a question to ask is what would death and salvation look like in 2022? These areas can be improved as the season progresses and everyone will learn from this, which is a good practice.