It's been more than three decades since John-Michael Tebelak's ejection from an Easter Sunday worship service inspired him to write "Godspell."

And the first impression on revisiting this now-classic musical for the umpty-umpth time is how well its songs and its message have withstood the test of time.

Stephen Schwartz's score, now being presented in updated arrangements and with some new lyrics, seems as fresh and heartfelt as when it debuted off-Broadway in 1971. Songs such as "Day by Day," Prepare Ye the Way of the Lord," "Light of the World" still have the power to evoke emotion even with those who view the show through secular eyes.

The structure of "Godspell" can be found in the New Testament Gospel according to St. Matthew. It takes a populist approach to the words and deeds of Jesus through a simple retelling of some of the major events leading up to and through his crucifixion with an emphasis on his parables.

The Pittsburgh Musical Theater production that plays through Sunday at the Byham Theater augments the traditional bare-brick wall, chain link fence setting with two huge projection screens that are suspended above the stage floor.

 

The show opens with a New Age Prologue filled with images of a burgeoning cosmos and its galaxies overlaid by voice-overs of Old Testament fundamentals. One by one, the cast of 10 -- dressed in drab business attire -- meanders onto the stage and begins creating its own 21st-century "Tower of Babble" number with laptops, computer keyboards, personal digital assistants and cell phones. As they tap and gab, the theological ponderings of Socrates, Thomas Aquinas, Gallileo, Jonathan Edwards and L. Ron Hubbard are projected onto the screens.

 

Within the play, scenes are given contemporary or pop culture overlays: the parable of "The Good Samaritan" is told by Muppet puppets with Kermit the Frog in the title role. "The Prodigal Son" is funnelled through "Leave It to Beaver." Melissa and Joan Rivers, Madonna, Michael Jackson and others put in appearances.

 

At intervals, the cast enters the audience to encourage hand-clapping accompaniment to songs and remind us what a good time we're having.

 

The result feels like excess and overkill.

 

 

Clad in shiny silver jeans, Chad Hudson is a bland but upbeat Jesus that ranges from forceful on "Alas for You" to pleasantly pattery on the "All for the Best" vaudeville number. Tom Rocco opens the show as Jesus's first supporter, John the Baptist, wearing a priest's cassock and sprinkling glitter from a small, shiny bucket as he sings "Prepare Ye the Way of the Lord." He ends the evening betraying him as Judas singing an affective rendition of "On the Willows."

 

By Alice T. Carter

TRIBUNE-REVIEW THEATER CRITIC

Friday, April 11, 2003