REVIEW: Godspell (Provision Theatre)

 

Pop Culture Christianity

 

 The ensemble of GODSPELL rocks out on O BLESS THE LORD, MY SOUL - (front r to l) Sarah Grant, Tiffany Cox, Richelle Meiss, Amy Steele, Jennifer Oakley.  (Back r to l) Greg Walters, Frederick Harris, Kevin O'Brien.

   
Provision Theatre presents
   
Godspell
   
Conceived by John-Michael Tebelak
Music/Lyrics by
Steven Schwartz
at
Provision Theater, 1001 W. Roosevelt Road (map)
through September 26  |  tickets: $15-$28   |  more info

reviewed by Keith Ecker 

The original Godspell (an archaic spelling of the word “gospel”) was produced in 1971, just as flower power was wilting, eventually replaced by disco fever later in the decade. At the time, many were still holding on to their all-you-need-is-love mentality despite the demise of the hippie community along with the increasingly unpopular Vietnam War. As a result, many found comfort in close-nit cults and communes, while Judas betrayal: Justin Berkobien as Judas in GODSPELL, running through September 26 at 1001 W. Roosevelt Road, Chicago, IL.others just moved on with their lives.

Still, for some, there was a Christian reawakening, a dawning of the Age of Aquarius in which it was foretold that man would achieve a greater understanding of Jesus’ message of peace and harmony. Had Godspell, a musical based on the Gospel According to Matthew, been produced at any other time, it would not have ever reached the levels of success it did. First a hit off-Broadway and then a hit on Broadway, the show saw more than 2,600 performances. Its song “Day by Day” was 13th on the Billboard pop singles chart in 1972. And in 1973, the musical was made into a major motion picture.

But these days, it appears that the portrait of the peace-loving Christian has been painted over with the image of Bible-thumping Pharisees. This begs the question: In a world populated with apocalyptic celebrities ministers, can Godspell remain relevant? In the hands of Provision Theatre’s extraordinarily talented director Tim Gregory, it can and does.

Provision’s interpretation frequently wanders off-book from the original. This is no surprise considering the show—which is really just a bunch of parables strung together—plays more like an improv review than it does a play. Characters call out to one another casually, egging each other on as they bring Jesus’ teachings of righteousness and justice to life. Gregory uses the play’s spontaneity to insert pop-culture references that serve to remove us from the musical’s dated soundtrack and transport us to the present. Be prepared for riffs on Facebook, Beyonce and the stimulus package. The jokes are utterly cornball, but then again, so is Godspell.

The costumes (created by DJ Reed) have also received a reboot to keep up with the times. Characters have traded in their bell-bottoms and denim for loud, funky garments. The end result looks like an Old Navy commercial starring Jesus and John the Baptist.

Gregory’s staging and Amber Mak’s choreography are really the highlight of this production. There’s a lot of group movement going on, but no matter how many bodies are in motion, everybody acts and reacts with one another physically, creating a larger whole out of the many parts. It is here, through the collective action, that the play’s message of connectivity and brotherhood is most apparent.

Jesus being crucified: Syler Thomas as Jesus in GODSPELL, running through September 26 at 1001 W. Roosevelt Road, Chicago, IL.

Unfortunately, most of the ensemble’s voices are lacking, which is really a significant downside for a musical. Vocal precision is rare. Instead, notes warble, passing from flat to sharp. A cordless mic is used often to enhance lead vocalists who, I suppose, don’t have the pipes to belt it out to the back of the room. There are some standouts, however, particularly Justin Berkobien as John the Baptist and Amy Steele, who sings the lead on “Day by Day”.

Provision’s Godspell is just as slaphappy and feel-good as the original. That’s fine for those who already have Jesus in their hearts. But for the cynics or the persecuted, it might ring a little out of touch with contemporary displays of Christianity. As for those that just want to see some song and dance, don’t expect a choir of angels – but there’s certainly clever choreography!

   
   
Rating:  ★★½
   
   

Extra Credit:

Read Mark Ball’s Godspell review from his blog One Chicago Man’s Opinion:

….Provision Theater’s production of Godspell was, in two words, very energetic. The joyfulness and exhuberance I mentioned above abounded from start to finish, and the actors’ collective excitement infected the audience. They properly exaggerated their characterizations, their timing was sharp, the cabaret was amusing, and the flow of the show was kinetic. But there were two major weaknesses, the first being that of bad acoustics and the second, that of bad singing. Despite the presence of some impressive vocal talent in the cast, a few soloists were clearly unprepared, one of whom caused me to cringe from his off-pitch screeching.  Read the entire review.

     
     

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REVIEW: Best Little Whorehouse in Texas (Circle Theatre)

One small BIG thrill

 The Men of BLWIT

 
Circle Theatre presents
 
The Best Little Whorehouse in Texas
 
Book by Larry L. King and Peter Masterson
Music/Lyrics by Carol Hall
Directed and choreographed by Kevin Bellie
Music Direction and new arrangements by Josh Walker
Circle Theatre, 7300 Madison, Forest Park (map)
Thru June 20th (more info)

Reviewed by Katy Walsh

Whores, hookers, ladies of the evening, oh my! – prostitution is the oldest profession in the world and perhaps the most misunderstood. Circle Theatre presents The Best Little Whorehouse in Texas, a musical exposing the softer side of the sex trade industry. Based on a true story, a Texas amusement institution has provided adult entertainment over the centuries. During the depression era, pleasure seekers paid for thrills with poultry which led to the nickname, “chicken ranch.” The kind-hearted Michael Gravame and the boys madam, Miss Mona, operates a clean business focused on guest satisfaction. Her well-known establishment has the endorsement and protection of the local sheriff. All that changes, when a television reporter crusades to shut it down. The Best Little Whorehouse in Texas isn’t your street corner hooker production, however. It’s your high class call girl with impressive moves and a revolving wardrobe ensuring your fantasy investment reaps multiple benefits.

This show is all about the show. Twenty-five cast members with multiple costume and wig changes dress up this non-stop energetic production. Under the direction and choreography of Kevin Bellie, musical numbers are a visual spectacle. Bellie chooses to make The Best Little Whorehouse in Texas a love affair instead of a “quickie.”  Hookers to TV back-up singers to cheerleaders to reporters, Bellie uses a large number of the chorus in every scene. This choice adds dimensionality to the depth of the songs and dances. Going “Texas-style big” aids a few sound issues. For some of the solo singing moments, it’s hard to hear the lines. During “Little Bitty Pissant Country Place,” there is an awkward duet between Miss Mona and a guy in the band. Cue the chorus! When the whores chime in, the harmony is ecstasy. Whether it’s singing or dancing, the ensemble uses its size to go deeper. The synchronization of the large number of dancers on a small stage kicks it up to the “wow” factor. “The Aggie Song”, in particular, is sexy country-line dancing with an athletic vigor. It’s Dirty Dancing taken to a whole new level!

Anita Hoffman and Noah Sullivan Kirk Swenk, Gregory Payne and the ladies
Sheana Tobey, Snita Hoffman, Sydney genco and Toni Lynice Fountain Noah Sullivan, Christopher Boyd and Jen Bludgen

Along with the huge and talented chorus, principal players add to the entertainment value. Every hooker should be lucky to have a boss like Miss Mona (Anita Hoffman). Balancing maternal urges in a cheeky business, Hoffman commands the stage with a combo of sexy playfulness and compassionate wisdom. Not quite meshing into the frothy ensemble, Toni Lynice Fountain (Jewel) shines with a soulful rendition of the song “24 Hours of Lovin”.  Noah Sullivan (Sheriff Earl Dodd) delivers his irreverent lines with hilarious force. ‘If that three foot man comes back, I’m going to flatten him so he has to roll down his socks to shit.’ Michael A. Gravame (Melvin P. Thorpe) is a smarmy dolt mugging the comedic moment. The issue side-stepping politician, Kirk Swenk (Governor) makes a small part memorably funny. The entire cast whores itself out for the audience’s pleasure.

The extraordinary spectrum of costumes (Jesus Perez) and wigs (Michael Buonincontro) are a 70’s flashback of afro, peasant blouses, and Frederick’s of Hollywood fun. Costumes, cast, choreography; all the lubricated participants make this group orgy a love fest!

 
Rating: ★★★
 

Showtimes: Fridays & Saturdays @ 8:00 pm, Sundays @ 3:00 pm (buy tickets).  Group Rates for 10 or More Available.  Call 708-771-0700 for more info.

Running Time: Two hours and twenty minutes includes a ten minute intermission.

 The cast of BLWIT

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