“When your trust is all but shattered; when your faith is all but killed. You can give up bitter and battered or you can slowly start to build.”
I like to start most reviews, if I can help it, with a hook-line, usually some clever twist on one of the show’s iconic lyrics or themes, but this one is just a direct line-pull from “Beautiful City” because it’s what co-founders Albert J. Boeren and Lisa Boeren have created. A ‘beautiful city’ with Peace Players and their current production of Godspell. It’s everything a production of Godspell is meant to be— simple but beautiful, corny but truthful, easy but powerful. All the voices are there, despite the diminished number of cast members, all of the humor is there and without insanely strung-out concepts, it’s just a really pretty and solid production. And what a beautiful start for a brand-new theatre company. Directed by Albert J. Boeren, with Musical Direction by Patty DeLisle, this show is honest and fun, uplifting and touching, and brings a smile to your face and a light to your heart.
Peace Players has taken up residence in the actual sanctuary of Our Lady Queen of Peace Catholic church and from the moment you walk in for the performance, there’s no denying that you’re in a church. Boeren keeps it simple. No overbaked concept, it’s not Godspell on the moon; it’s just the music and lyrics of Stephen Schwartz and the conceived libretto of John-Michael Tebelak being presented by people at a church in a church. There’s sprinklings of pop-culture references, smatterings of musical nods, and so much corny, punny humor loaded into the experience, you’d think Boeren is trying to pit his production against Shucked for corniest musical right now. But it makes you laugh and it’s very clever.
True to form, Boeren follows the generally accepted nature of Godspell. One Jesus, one John/Judas, and an ensemble of ‘disciples’ who are simply themselves in various costumes that they choose. What makes the Peace Players’ production unique is the noticeably smaller ensemble. You’ll physically see that there’s eight people in total, including the Jesus and John/Judas character. But in no way, shape, or form, does this diminish the powerful sounds they produce under Patty DeLisle’s musical direction, filling that sanctuary with joy and rapture. DeLisle, who plays live piano (and is accompanied by Rosemary Podhorniak on guitar and Andrew J. Boeren on drums) brings together a reinforced unity among the cast of eight, which makes group numbers like “Day By Day” and “We Beseech Thee” possess all of the energy and emotion that you expect from a solid production of Godspell.
One of the most impressive features of this particular production of Godspell is how Boeren handles the ending. It has long been debated, and practically split down the middle, in the theatre world about whether or not Godspell comes with a resurrection of Jesus. About half of the companies that produce this musical resurrect him after the crucifixion and the other half do not. Without giving anything away, Boeren takes a unique approach, one that in the dozen years I’ve been reviewing theatre (and likely the dozen or more productions I’ve seen of Godspell) I’ve never seen done. And it sends a truly beautiful message, one of faith, hope, and love.
Back onto things I can talk about. Like the Muppet-puppet show that gets featured during the ‘good Samaritan’ parable. THAT is hilarious. We’ve got Elmo, Cookie Monster, Kermit, and Miss Piggy! Possibly also Big Bird, Swedish Chef and what might be Grover. Delightfully hysterical. Boeren keeps the overall pacing of the show quipping along, music flows into parable and vice versa and the whole shebang has wrapped in under two hours; it’s refreshing to feel Godspell moving along so fluidly. There’s also the jarring chime of Catholic altar chimes when a new parable is about to launch. It reminds you of where you are and that this is a story about Jesus in the church…being performed in a church. And honestly, playing directly on the altar, with all of the recent Easter lilies as scenic decoration, however unintentional, is striking and just so pretty. There’s also something uniquely haunting and equally inspiring when it comes to hearing the more somber numbers like “By My Side” with the larger than life statues of Jesus, the Virgin Mother Mary, and the Angels looming quietly above the play space.
There’s a lot of very simple but extremely clean dance movements, including having the company slide down the main aisle, bringing their songs and dances directly to the audience, almost as if we were the extra disciples meant to join them on this journey. And Boeren adds the special effect of Bible verse projections on the back wall (off to the left) that match the show as it progresses. Think of it like religious subtitles for those interested in knowing exactly how when and where Godspell sits in the biblical canon. It’s a useful tool to have for anyone and serves this production well.
The ensemble of players— Linda Brown, Mary Guay Kramer, Lee Knox, Emily Machovec, Carol Paul, Lisa Rigsby-Geiger— are very playful and energetic, particularly when it comes to the parables. Boeren has shared his seasoned expertise of being a theatre director with the company and given them a chance to express themselves as themselves in these parables and songs. There’s plenty of ‘product endorsements’ (which only adds to the corny nature of the show’s humors) as well as pop culture references… like Charlies Angels with Abraham Lincoln in the parable of Lazarus. Or “Baby Shark” which is indeed a form of torment all its own. Nothing politically charged or scandalous, just good clean fun that rates highly on the ‘dad-joke’ humor-meter. But Boeren also finds those sobering moments of sincerity and solemnity in balance with all the quirky funny bits of this production. And the balance is just right. He’s got the vision, the cast, the space, and it’s all come together in a solid, clean, meaningful production.
The aforementioned sextet of ensemble performers share this convivial nature that’s just infectious. When they’re giggling and celebrating and enjoying themselves up on the altar, you can’t help but want to bob along in your seat, bouncing and clapping, smiling, and just enjoying their joy. And the same is true of their more solemn moments, particularly towards the end of the production; you feel their pain, grief, and sorrow in a similar fashion, making you want to hug them to help ease the burden. Each member truly has a moment to shine, whether it’s Linda Brown constantly showcasing her ferocious and fiery belting and top soprano capabilities, particularly during “Bless the Lord” or Lisa Rigsby-Geiger, who is finally given the chance to shine as a vocal soloist during “All Good Gifts.” Rigsby-Geiger also plays the recorder (quite impressively, I might add) during this number, showcasing her versatility as a performer.
You’ve got Carol Paul who feels at home the most when she’s singing “By My Side” (with supporting vocals from guitarist Rosemary Podhorniak.) Paul delivers this almost rapturous version of this number, losing herself in the sheer bliss of having true faith in Jesus. It’s a wonderous new take on the number that makes it so much more than this foreboding and foreshadowing number of what’s about to come. Emily Machovec gets her spotlight twinkling during “Day By Day” where she takes a seat on a stool, opposite Jesus, and teaches him to sign the song as she sings it serenely at him. You also get a hilarious side of Machovec as a disciple during the parable of ‘The Prodigal Son’ because her arm is constantly being corrected to the right pointing position.
Mary Guay Kramer is sparkling, quite literally with all that shimmer in her outfit, from the moment she bursts up through the aisle. And her signature, saucy number, “Turn Back Old Man” perfectly toes the line between risqué and really fun. She’s definitely one of the most engaged when it comes to locking on with the audience, and not just because of this number. Kramer has a strong, solid, voice that blends well during the trio of “Learn Your Lessons Well” where she, Brown, and Rigsby-Geiger pull off this hybrid of an Andrews Sisters’ number meets the three daughters of The Brady Bunch. Lee Knox is also quite the comic crack-up, particularly when going gaga over Kramer’s outfit, but holds his own vocally as well, giving a beautiful baritone start to “We Beseech Thee” and when he takes his turn during “Light of the World.” He also reads a few of the verses at the top and bottom of the show, like a true lector.
Ultimately this ensemble brings a great deal of support to both John/Judas (Sam Ranocchia) and Jesus (Simon Gusso.) Ranocchia delivers a clear vocal blast to open the show (we’re doing the non-Babel rendition at Peace Players) and his “Prepare Ye the Way of the Lord” does exactly that. Ranocchia starts the show in a cute, white Mickey Mouse t-shirt epitomizing the happy-go-lucky and ‘good’ John the Baptist. When the second act arrives, he’s sporting a blood-red Darth Vader t-shirt, signifying his transition to Judas the Betrayer. And he holds his own giving a solid patter against Jesus in “It’s All For the Best.”
Simon Gusso, as Jesus, may appear young (he is but don’t let that worry or fool you) but he has the voice, honestly, of an angel. He’s a jovial Jesus, right up until Mary Guay Kramer hits him with her spins during “Turn Back Old Man” and it sparks the catalyst for angry, furious Jesus, allowing him to blast his way into “Alas For You.” Gusso even channels that Eddie Cantor sound, old-school Vaudeville/Broadway when he rattles his way through “It’s All For the Best.” There’s something serene about the youthful innocence and exuberance that Gusso brings to the role of Jesus. When he’s teaching the parables, sharing the stories with his fellows on the altar-stage, it just feels wholesome and realistic; he believes what he’s preaching and that resonates throughout the sanctuary in spades. And he brings a tear to your eye during the “Finale.”
It’s ultimately a wonderful production. Filled with light, wonder, beautiful simplicity, and it has created a beautiful city. It would be a shame to miss this particular production of Godspell at Peace Players as it is both delightful and the inaugural production for the company.
Running Time: Approximately 1 hour and 50 minutes with one intermission
Godspell plays through April 23rd 2023 with Peace Players in the sanctuary of Our Lady Queen of Peace Church— 10001 Bird River Road in Middle River, MD. Tickets may be purchased at the door or in advance online.
