The reliance of a production’s success on the people behind it is never more apparent that in a work like Godspell. The book by John Michael Tebelak offers no narrative tension to hide behind; the music and lyrics by Stephen Schrwatz have entered the canon of musical theater classics — a lot for any cast to live up to. Thus, the ten onstage performers of The Encore Musical Theatre Company’s production, as well as director Dan Cooney, have no one but themselves to credit for a vivacious piece of entertainment. Focusing on the tight ensemble and infectious energy of the followers of Jesus, this show is notable for driving its well-hewn story by mood alone.
“Nonspecific” is the name of the game in this telling: set designer Leo Babcock’s architectural details suggest an artfully decrepit abandoned theater, which is inhabited by a small band of ardent believers in the word of God (according to the Gospel of Matthew, upon which the piece is based). The players’ strong and immediate convictions are manifest in make-do, dress-up playfulness (costumes by Sharon Larkey Urick) and space-filling spectacle (assisted by lighting designer Daniel Walker) to match their imaginative explorations of faith. Time period, circumstance, and relationship are inconsequential to this telling; it’s a risky proposition rewarded by the unblemished strength of the ensemble. The approach is helped in no small part by the strong illusion of the first time, drawing the viewer into a string of nonlinear discoveries that appear to be at least half as fun to perform as to watch.
Vocals are universally strong in every combination, guided by music director Brian E. Buckner (who doubles as an ensemble member, while also somehow leading the accompaniment from onstage), and choreographer Barb Cullen guides expressive, sweeping movements over every inch of the space. Between musical numbers, scenes take the form of parables, in which Jesus (Rusty Mewha) patiently coaxes his followers through moral questions by acting out stories that demonstrate the core tenets of Christian attitudes and beliefs. Mewha’s gentle leadership makes him first among equals, an egalitarian choice well suited to both the tale in general and this team in particular. Unison and group activity are rampant through the play’s first act, with an internal logic and symbolism in Thalia Schramm’s set dressing and properties that supplement but do not dictate the action.
Although attention-grabbing moments of clowning are evident (best personified by Keith Kalinowski’s dedicated tomfoolery and Tara Tomcsik’s sweetly simpering vacancy), the players largely stay close to their actual selves and personalities, exuding genuineness and friendly camaraderie that elevates the whole group. Truly, the star of this show is its ensemble, a superb assembly of talents and personalities with no evident weaknesses. Although the united approach soars when extolling the eagerness of new belief, the show consequently experiences a minor hiccup when faith is tested and betrayal comes to the fore. As Judas (the only other character not named for the actor), Brian Thibault delivers emotional complexity in climactic scenes, but the performance can’t quite smooth over the unmotivated abruptness of the rift. Still, to the credit of Cooney and the players, the production has the ability to evoke strong responses using only the heat of the moment and concerted group reaction. Especially for viewers with a working knowledge of the material, familiarity and inference plus a strong collective here make for a satisfying storytelling arc.
Put simply, this Godspell is proof of the evocative power of performance, distilled into two acts of engaging entertainment without need of a narrative anchor. The invigorating newness spun onto these old stories may be a particular draw to some, but the production’s greatest achievement — the unimpeachable magic of a team effort — is undoubtedly its greatest appeal.