Theater review: Godspell

by Gina Robertson of John Garcia's The Column

GRAND PRAIRIE — It's the kind of thing you're either really into or you find it kind of creepy, like watching a cartoon about Charles Manson presented by those who saw him as a really funny, caring, inspirational man.

Godspell, with its funky costumes, relentless energy, and simplistic moral proselytizing, has come to the Uptown Theater in Grand Prairie, presented by the Arts Council. It is a modern day telling of the Gospel According to Matthew, in which, as explained in the program, there are "deep, often misunderstood meanings." No doubt this is true, and if the enthusiastic reception of Thursday's and Friday night's audiences is any indication, this show resonates intensely with the local folks, who are able to appreciate what's beneath the surface of the giddy songs and corny jokes.

The set is simple but complete, with crates, risers, and scaffolding shuffled around enough to keep the scenes fresh. The entire cast is on stage most of the time, and they remain remarkably turned on throughout. None of them drop pace or break character even for a moment when they're just sitting on set and watching the action elsewhere on stage.

Despite the noticeable problems with the sound system, the music is lovely. Tripp Jackson (Lamar) and Victoria Minton (Robin) are particularly responsible for moments of true beauty in their solo numbers. Harmonies are nicely done, but even more impressive is the ability of the cast to sing completely different lyrics set to different melodies simultaneously. They make it look easy. Kristal J'Neen Jemerson as Sonia becomes a fast favorite with her soulful voice and over-the-top vamping and gyrating. Richard C.S. Jenkins is a dance maniac as Jeffrey, with the all-American curly-haired good looks of a young Leo Sayer mixed with the elastic rhythm of Michael Jackson. Brandi Giles (ensemble) performs a moving translation of "We Beseech Thee" into sign language that entertains as much as the clever choreography throughout the show.

The relationship between Jesus and John the Baptist/Judas develops in subtle ways, climaxing in the betrayal. The chemistry between the two actors is apparent in their soft shoe dance number, "All For the Best," in which both demonstrate a delightful sense of comedic timing. As John/Judas, David A. Vaughn conveys the love and admiration he feels toward Jesus and the brooding guilt he feels at betraying him. What's missing is motive, but this is more for lack of opportunity in the script than for any weakness in his performance. Zak Dacus Reynolds plays Jesus with all the charisma the role demands. He is genuinely good, a youthful, exuberant personality that loves to have fun, loves his people, and embraces his role as their teacher. His parables and directives are delivered without judgment or arrogance, and they are accepted gratefully by his followers as though, without Jesus's guidance, they wouldn't know how to behave. This is the part that feels a bit creepy and cultish to a nonbeliever like me. The people often present a completely mindless acceptance of whatever is given to them by Jesus, with a disturbing, rapturous, glassy-eyed stare.

They, along with Jesus himself, often seem childlike to the point of stupidity. This is meant to represent that we are children of God, who must receive parental guidance in order to save ourselves from His brutal punishment, but to a heathen like me, what comes across instead is that Jesus and his followers aren't very bright. In their child-like vulnerability, the people could be led anywhere by anyone with half an ounce of charm, which makes it less impressive that Jesus is able to turn them into a community of the righteous and holy. In contrast to philosophers like Nietzsche and Socrates, whose ideas are paraphrased in the opening number, Jesus and his followers are not troubled by a tendency toward intellectual, independent thought.

The first act is all about good times. With singing, dancing, joking, and playing, the cast members emerge, despite their distinctive personalities and quirks, as a closely bonded family. It isn't until the somber second act that it becomes apparent how well they have established themselves as a close-knit community united by their love for Jesus and his for them.

In the second act, we see Jesus as more authoritative and grown-up. We see his anger for the first time, directed toward the Pharisees. We see a surprising talent for such a young actor in Reynolds' ability to make this transition. Even I was brought to tears by the heartbroken goodbyes, which shows how well the pieces of this show come together to tell an inspiring story.

Reynolds' grief, his fearful prayer asking God to relieve him of the coming ordeal, and his anguished cries of pain are incredibly intense. This is a very different Jesus than portrayed in the first act. The final moments are very powerful, but at some point the repetition of the line "Long live God" by the cast fails to heighten the intensity any further and becomes annoying.

Keyboardist and Music Director Margaret Scoggins and the rest of the band are featured in a back corner of the stage. They're a part of the show without being a distraction, and their performance is another strong element of success. Lighting Designer and Technician Jordan Tetler deserves mention as well for the nuanced enhancements of the lighting effects.