'Godspell' for the next generation

Certain expectations surround a musical about the Passion of Christ. One expects (well, hopes) that there will be some kind of message about humanity, goodness, love, God or all of the above. One does not expect Eminem. But in the new Off-Broadway revival of "Godspell," directed by Shawn Rozsa and currently playing at the York Theatre, the traditional meets the 21st century, creating a production with energy, humor and, ultimately, meaning.

"Godspell," with music and new lyrics by Stephen Schwartz and book by John-Michael Tebelak, is a loose account of the life and death of Christ. It was originally presented in 1971 and lives on in the minds of many as one of the "hippie" musicals. Unlike "Jesus Christ Superstar," which also premiered in 1971 and was revived in New York this year, "Godspell" takes a nonlinear approach to its familiar subject matter. It is structured as a continuous stream of parables and stories, many taken directly from the Gospel According to St. Matthew.

The book of "Godspell" is sketch-like in nature, meaning that the show is particularly suited to improvisation and ad-libbing. Rather than shy away from this, Rozsa and his talented cast have embraced the casual nature of the script, keeping Tebelak's basic parable structure but updating the pop culture references and language. They refer to sources ranging from silent movies to '80s TV shows, Broadway shows to Budweiser ads. In so doing, they have created a production that is equally appealing to theater devotees and to younger audiences more used to MTV than musicals.

This revisionist spirit also permeates the music. Schwartz's credit for "Godspell" has always been for "new lyrics," referring to the fact that many of the words were taken directly from the Episcopal hymnal. In this production, however, some of the lyrics are new to "Godspell" itself. Schwartz worked with the cast and crew of this revival, and his most evident contributions are lyrics that bring certain songs up to date for the current generation of theater-goers. This is most apparent in the prologue of "Godspell," in which a group of philosophers — more modern than their counterparts from the original production — express their conflicting views on life, God, and humanity.

The melodies themselves have also undergone a renovation. Though the much-loved songs — including "Day by Day," "All for the Best" and "By My Side" — are still familiar, music director Dan Schachner incorporates elements of punk, rap and reggae, adding a contemporary edge to the good-old "classic rock" style of the score. Playing with the tried-and-true can be dangerous, however, and one feels that some of the songs would have been better left alone. Specifically, a punk rock rendition of "Learn Your Lessons Well" falls flat, despite actress Leslie Kritzer's energetic channeling of Gwen Stefani.

The "hey-kids-let's-put-on-a-play" vibe that pervades "Godspell" means that the success of the production depends heavily on the chemistry of the actors. This young ensemble, made up of recent college graduates, has the strong voices that Schwartz's heartfelt songs demand, combined with the acting ability and vitality needed to enliven the biblical subject matter, which can be overly genuine for a cynical New York audience. The actors acknowledge the existence of this skeptical attitude, at times poking fun at the homilies they proclaim, but never overshadow the sincere message of "Godspell."

As Jesus, Barrett Foa has the presence and control that "Godspell" needs in its central figure, combined with a slight dorkiness that adds humanity and fallibility to a character who in other hands could easily be more saintly and thus less interesting. Will Erat's John the Baptist/Judas — the "Godspell" script combines these two characters into one — is likewise a powerful figure. He is not the villain of the piece, but a foil to the Jesus character, and Erat's visible struggle with the inevitability of his fated betrayal adds pathos to the play's conclusion.

The other eight members of the cast portray the Apostles, who in "Godspell" go not by their biblical names, but by the names of the actors who play them. They are a diverse group, without being easily definable "types" — after all, they're people, not teen pop group members. Standouts include Chad Kimbal as the least bohemian of the bunch, Shoshana Bean, whose voice soars through "Bless the Lord," and Capathia Jenkins, who starts the second act off with a bang with her lusty and hilarious rendition of "Turn Back, O Man."

The production design for "Godspell" is in keeping with the theme of reinventing a classic. Keven Lock's set is true to the show's original junkyard concept but adds modern touches, such as broken computers and walls full of peeling concert posters. William Ivey Long's costumes likewise stick to what were referred to in the 1971 script as "clown costumes," though these "clowns," in their brightly-colored and mismatched clothing, look more like young denizens of Greenwich Village than anything you would see in a circus. Herrick Goldman's lighting is generally simple and direct, but at times reminiscent of a rock concert — appropriate to the material. Smoke machines, used at sporadic intervals, are excessive in supporting the rock concert metaphor. The only excess this production should have is its excess of talent.

Director Rozsa deserves much credit for harnessing this talent into a coherent whole. The structure of "Godspell" makes it difficult for productions not to seem piecemeal. In Rozsa's interpretation, not only are the transitions between parables and songs seamless, but the narrative flows naturally. Through blocking and other theatrical tools, Rozsa ensures that the play's ending — the Crucifixion — is present in the subconscious of the audience, so it does not come as a shock when the action becomes serious in Act Two. The song "On The Willows," traditionally sung by the band as Jesus bids his followers goodbye, is instead sung by Judas. This choice allows Judas' internal conflict to be clarified, adding further emotional resonance to an already powerful ending.

There are some who might shy away from "Godspell" because of its Christian subject matter. The messages of the play, however, are not limited to one religion — they are universal. "Godspell" does not stress the idea of Christ as the Messiah, nor does it focus heavily on the concept of God. Instead, the importance of community takes the fore. "Godspell" begins by stating the difficulties and confusion of existing in isolation, and shows how a group of individuals come together to become stronger and more self-realized than they ever could be as separate entities. Such a message is surely relevant to today's society. As we become more and more self-contained, thanks to the ever-increasing scope of the Internet, it is important to remember the significance of direct human contact. "Godspell" is a powerful reminder of the joys of friendship and community, an oasis of sincerity in a cynical world.