Godspell: CCP strives to offer 'sincere' retelling in newest production

Jul. 1—The hit musical Godspell opens on the Cumberland County Playhouse Mainstage Friday.

"I thought the message is very important for where we are in the world today — love, community, loyalty," said Bryce McDonald, Playhouse CEO and director of the new show. "I thought, that's what we need to be showing the world."

McDonald said the cast has been at times overwhelmed by the power of the story, drawn from the parables of the Sermon on the Mount relayed in the Book of Matthew.

"We all have a passion for it," he said, discussing the first time the play was performed in whole in rehearsal. "You saw these 13 people start reaching out to each other and holding each other's hands — even though they weren't blocked to do that — because they were trying to get through it."

It's the story of Jesus and his disciplines, McDonald said, and how they came together for each other and for the world despite their past or their place in society.

"We've all needed something. After everything we've gone through with COVID — I think I've found a bigger faith than I thought I needed, and I've seen it in others," McDonald said. "Look what these 13 people represent. You can go home and do that, as well. You can be kind to someone."

And though based on the script from John-Michael Tebelak, McDonald says the Playhouse won't be presenting the play in a circus setting or with clowns.

Instead, the audience will see these timeless stories shared by characters resembling people they see each day.

"It's as if you were to go to Kroger or Walmart and see people from Crossville," McDonald explained.

A cast of six men and six women represent Biblical characters such as Simon Peter, Andrew, James, Judas, John and Matthew, Mary, Mary Magdalene, Martha, and the woman at the well.

These characters represent the disciplines and individuals that were with Jesus the longest during his ministry. They also represent individuals who were not always welcomed by society at the time.

"The disciples were a ragamuffin group that no one ever thought would be with the Messiah," said McDonald

They're dressed in modern style, one just out of yoga class, another on the way to the basketball court, a loner in a leather jacket, an artist.

"I want you to be sitting in the audience and think, 'That looks just like the guy sitting next to me,'" he said. "I want it to feel as if we are all this community coming together. That's a powerful statement."

Tebelak wrote Godspell in 1970 while studying at Carnegie Mellon. The musical served as his master's thesis.

He was only 22 when he wrote the play. Inspiration for the work came from reading the Gospels, but the catalyst was a visit to an Easter service at a church in Pittsburgh, PA.

The congregation was grumbling about the weather and spending time with family. One man slept through the service. The sermon was uninspiring. A policeman sitting two rows ahead of him asked to search him — convinced this young man dressed in the style of the day must be up to no good.

"It shook him," McDonald said.

Tebelak told Dramatics Magazine he found joy within the gospels.

"I found a great joy, a simplicity — some rather comforting words in the Gospel itself — in these four books," he said.

After the less-than-welcoming reception he received at the church, Tebelak decided to write Godspell.

"I wanted to make it the simple, joyful message that I felt the first time I read them and recreate the sense of community which I did not share when I went to that service," he said.

He worked with fellow Carnegie Mellon graduate Stephen Schwartz who wrote the musical score. He took monologues and set them to music, with an eclectic blend of musical styles.

The show opened in 1971 and was first produced on Broadway in 1976.

The show has weathered its share of controversy — primarily over Tebelak's decision to portray the cast as 1960s Manhattan street clowns.

"It muddies the story," he said. "I want to make sure it's very sincere and the message is clear — he wanted to show that everyone should be welcome. There is no judgment no matter how you look or how you dress."

To make that clear, McDonald changed the setting to a generic meeting space made out of pallets of wood, a nod to Jesus the carpenter's son.

"We removed the things that were clownish to make it where the Jesus character is truly teaching these parables and encouraging them to create a story theater," McDonald said.

McDonald reached out to some area youth ministers and congregations for guidance on the story and setting up parables for young adult classes.

"They helped advise me," he said.

The play includes two acts. It starts off light, with fun, upbeat music.

"It's a praise and worship show before that was a concept," McDonald said. "You're going to be clapping along. You should want to jump up in the aisle and dance."

In the second act, the story moves to Holy Week and the betrayal of Jesus by Judas in the Garden of Gethsemane through the crucifixion. That, too, has been a point of controversy for Godspell, and is another section McDonald and the Playhouse have reinterpreted, ending with triumphant song, "Long Live God," and imagery to symbolize the resurrection.

"I want everyone to come and for churches to bring their youth groups and families to be a part of this," McDonald said. "I don't want them to think we're going to be making fun of something. We're trying to be as sincere and share love."

The show opens Friday and continues through Aug. 22. It is rated PG and is sponsored by the Pour House Bistro and Fairfield Glade Resort.

Also at the Playhouse, Driving Miss Daisy continues through Aug. 5.

Attendance has been growing at the Playhouse as it returns to production following the pandemic. There were about 375 people in the audience for the final show of Duck Hunter Shoots Angel, the largest audience in about 500 days, McDonald said.

"They were a great audience. They were on their feet and laughed at everything," he said.

Godspell represents a return to musical theater for the Playhouse, with a full orchestra accompanying the cast of 13 actors.

McDonald directs the show, with choreography by Charlie Munday, musical direction by Ron Murphy, costume design by Austin Blake Conlee, set design by Curtis Phillips, lighting design by Christopher Van Tuyl, sound design by Matt Bundy and props design by James Warren. Josh Helgeson is the stage manager, assisted by Genevieve Gallant.

Tickets are available by calling the Box Office at 931-484-5000 or online — check the Playhouse Facebook page for online ticket ordering.

Heather Mullinix is editor of the Crossville Chronicle. She covers schools and education in Cumberland County. She may be reached at hmullinix@crossville-chronicle.com.