By BRUCE DENNILL
Godspell / Directed by Tracey Human / Lesedi Theatre, Joburg Theatre, Braamfontein, Johannesburg
Storytellers from Martin Scorsese and Mel Gibson to Andrew Lloyd Webber have realised the tszpower of “the greatest story ever told”, so it’s not surprising that Stephen Schwartz and John-Michael Tebelak 1971 take on interpreting the Gospel on stage still has both thematic and artistic relevance.
Though a couple of the plum roles – Jesus and John the Baptist – are given to guest performers (Raymond Skinner and Grant Towers, respectively), there is an enormous amount for the Oakfields College musical theatre and dance students whose showcase this is to do, thanks in large part to Timothy Le Roux’s vibrant choreography and Dale Ray’s music direction, which takes an already wonderful score and adds layers and creativity that push the young cast to reach further.
Skinner’s casting as Jesus is excellent. He has that combination of gentleness and quiet authority that all the best actors in this role have had, allowing the content of the script to come across as heartfelt and genuine, whether audience members are familiar with the source material (the gospel of Matthew in the Bible) or not. He also moves and sings well, which is crucial for the lynchpin of such a production – though the inclusion of a magic trick in which he makes a rabbit appear from a hat is curious (presumably it’s true to the performer’s expanded skillset rather than the continuity of the original play).
Against a set that recalls the urban edginess of Rent, the 21-strong company keep the energy incredibly high throughout, with even the more appropriately restrained moments in the story committed to wholeheartedly. Two of the bar-setters in this regard are Tyra Louw and Tianette Wessels, whose movement throughout fizzes with dynamism and sassiness.
For long-time fans of the musical, the edits on the music to allow for Ray’s arrangements might hinder full-throated singing along, but they work well and give that part of the production a pleasing freshness. Other small tweaks, like changing the story of the sheep and the goats to the story of the lions and the monkeys – who knows? – are less successful, but also not really distracting.
Overall, the spotlight is allowed and encouraged to focus on the story (essentially, a high proportion of the stories told by Jesus in the book of Matthew); the superb, enduring songs that catch the ear and squeeze the heart as much now as they did in the Seventies; and the impressive efforts of a group of young performers with a great deal of potential. This production is educationally encouraging, but also funny, thought-provoking and moving.