"Godspell," show #928

A vibrant, poignant, and thoroughly entertaining production of Godspell is blessing the Fresno State University Theatre stage. John Michael Tebelak and Stephen Schwartz's parables set to music invites audiences to experience Jesus’ teachings while enjoying skit-style scenes and songs which take a vibe, a verse, or a plot point and give its musical due. Director J. Daniel Herring, in choreographic collaboration with Kenneth Balint and the cast, is delivering a superb, smart, and hearty production of Godspell.

(Joey Giudici (Jesus); Photo source: University Theatre)

Joey Guidici leads the company as Jesus, and does so with an aura of tranquil, authoritative teacher and preacher of the Gospel. What elevates Giudici’s performance as one expects the Son of God to be is how he deviates very little from showing how how his own story ends, but lets the emotions come through in song and late in the act two scenes, when appropriate. Giudici's calm bravado is a perfect juxtaposition of the buoyancy and energy the rest of the company--smartly being cast of 13 people (12 disciples plus John the Baptist)--gives in song and parable re-enactment. Giudici’s delivery of the biblical text is commandingly inviting and encouraging, effectively drawing us in. His vocal turns at “Save the People” and “Beautiful City” are smooth, beautiful, and serves as compelling tunes when given such attention to the lyrics and deeper, modern-day connections. Later, the fury comes out with aplomb in “Alas for You,” setting up the beginning of the end for Jesus’ journey. In antagonistic complement to Giudici is Nico J. Diviccaro’s Judas, who gives as much comedy as he does drama in the final scenes when the betrayal is being enacted. Diviccaro’s collecting of the 30 pieces of silver is a turning point in show-wide emotion, a moment that informs the last songs and scenes of the show with compelling conviction, and is perfectly calibrated in Herring’s direction and allowance for the feelings of dread to pulse with heart-pounding anxiety. But, because Godspell knows how to make laugh when needed early on, the two pair for a fun ditty that is “All for the Best,” even keeping the hat-and-cane style and knee-slapper jokes in time with the very quick tempos of the score. 

(Downstage-Joey Giudici (Jesus) and Nico J. Diviccaro (Judas), Upstage-Diego J. Sosa and Isaiah Samaniego; Photo source: University Theatre)

Supporting highlights come from Audrey Allen’s emotionally dirven “Day by Day;” Catricia Alvarez’s excellent vocal and choreographic turn in leading “O, Bless the Lord;” and Diego J. Sosa’s soaring vocals and physically passionate delivery of “All Good Gifts.” Dressed in costumes that cater to the persona and attitudes of the entire cast, Dulce Quezada and Jonathan Rodriguez-Escamilla dress each cast member with appropriate attention to detail in both modern flare and 1970s tribute form. Alexandra Luna’s hair and makeup design are works that give whimsy and theatrical focus to each character’s quirks, songs, and various parable characters they take on. 

(Audrey Allen and Joey Giudici (Jesus); Photo source: University Theatre)

Dominick Callahan’s scenic design is superb in its open space as a church, with the appropriate pulpit, bench pews, and stage leveling to give space for the musical to breathe and dance. Sunshine de Castro’s lighting does an excellent dual-duty of giving concert excitement and stirring intimacy when called for. Design-wise, this production team does its due diligence in supporting Herring's directorial vision and concept with top-tier execution. Much like its source material, Godspell is a show that one can take at face value, is not needing of changing, but the reader-or audience-witnesses how it still applies to today. Much like its source material, you don’t have to be an expert in the theology or history to see understand the messages it delivers. Parables are a storytelling device Jesus used to teach those of any level of education and literacy messages of love, acceptance, and understanding.

(Cast of Godspell; Photo source: University Theatre)

This production hits all the marks of respecting the source material--whether one is a believer in Christianity or not--by having contrastingly complimentary energies–when in song and when in scene–it’s always in cadence, it’s always humming. And, without spoiling too many of the brilliant touches lest I ruin the theological touches and modern commentary you should experience yourself, this production, from start to finish, is always singing. No Kings. “Lock Her Up!” Friendship bracelets. These modern touches in the context of a musical harking from the 1970s is what makes timeless musicals such a worthwhile experience at the theatre. So go see this show, it is very much worth your while.