Godspell

You can tell when a company president is excited by the show his company has produced by the effusive notes in the program and Craig Maloney, never one to be quiet and retiring about any of Phoenix’s ventures, almost jumps off the page of the program telling you how good this show is.

He was also in the foyer and showing people to their seats with that same enthusiasm for this particular production of Godspell that is it hard not to feel you are about to witness something extraordinary. And Phoenix’s Godspell was a new and exciting interpretation of the Stephen Schwartz classic.

Director Richard Perdriau’s vision of a 2010 version of the show was realised and performed with energy by the group of sixteen young performers who range in age from 14 to 26. To be honest you could tell the younger teenagers from the adults, the seasoned performers from the ones who were making their amateur theatrical debut and the clearly talented from those who were trying their hand at performing. However, the group as a whole were clearly having a ball. I admire the vision of Richard Perdriau in bringing the show into 2010, to the time of the digital natives- those Gen Y and Gen Z performers who communicate via a range of media. It was obvious that the production team invested time in exploring the depths of meaning in the script and all performers demonstrated an understanding of the nature of the story telling approach of the show.

Technically this show had lots of different bells and whistles. The set was very simple, a few risers across the back of the stage and two large screens that were always featuring some type of vision, whether it was film, images, photos, cartoons, messages, live vision - it could have been a recipe for disaster, but Stage Manager Anne Dewar appeared to have all of the multimedia and all the requirements of lighting, sound and characters entering and exiting through the auditorium, in hand. The opening of the show featured the cast filmed in various city locations as an introduction to the characters and film was used to effect a number of times during the show as well as live camera action during the second act. The cast used a series of black and white cubes to create performing spaces and props, this too happened in a well choreographed manner. Lighting by Brenton Van Vliet was appropriate and sound by Michael Parsons was consistent and well balanced.

Katrina Packer, the Musical Director, had a small but effective band who played off stage. Mention must be made of Alex Welch’s excellent on stage guitar solo at the end of Act 1. It is not often that a band member gets solo time on stage, in performance. Choreography by Renee Maloney showed good use of the small space. When the cast has a range of abilities in movement, it is sometimes difficult to find a balance to showcase talent and make everyone look good, but Renee succeeded and had everyone working well. I was not sure about the tap routine from Jesus whist Judas in the same number, wore runners, but it was a small section of the show.

Leighton Irwin as Jesus was an enthusiastic and confident performer. He demonstrated a depth of understanding of character, showing the leadership and compassion required. Vocally he coped well and he certainly had a presence on stage. Similarly, Matti Middleditch, as Judas showed a flair for comedy and pathos as well as sound vocal skills. The two had a good rapport with each other and the audience.

Of the other players, there were highs and lows and a showcase of talents. Sarah Brown had a strong voice and was impressive; Samantha Frazer, although quite young showed maturity in her performance and Naomi Jallais was probably the most polished of the ensemble performers. Janna Seeley had an impressive voice and played chello on stage to effect. Some of the ensemble, whilst enthusiastic and for the most part were involved in what they were doing, lacked strong voices or the ability to hold melody and harmony lines. All of the cast however, should be proud of the cohesive unit they created and the cast when singing together, sounded terrific.

The overall impression of this show is that this cast have worked hard to achieve a well rehearsed, innovative, fresh look at this show. I loved the technology and the way the cast brought laptops on stage; I loved the film sections, the seamless movement of people and cubes to create shapes and spaces, and the crucifixion scene. I had a few concerns with the costumes. Some of the players looked expertly dressed. Jesus and Judas were, I felt appropriately attired. Some of the ensemble looked spectacular, wearing highly theatrical outfits and dance shoes. Others looked liked they found a few things in their wardrobes and put them together. Craig Maloney assured me that this was not a ‘hippie show’ but some of the costumes were a bit that way!

Suffice to say, I was impressed by the attention to detail and dedication of the cast and crew of this show. I am so pleased that Phoenix have given so many young performers a chance to shine and hone their skills in such a setting. Godspell was in effect, a youth production and yet will be judged against the other shows with more experienced performers. The house was full on Saturday night and this show deserves to continue to play to full houses. It is a fine contribution to a very busy first half of the year line up. Congratulations to Phoenix and the cast of Godspell for an entertaining show.

Jennie is a well know performer, she has worked with most theatre companies in Melbourne for over twenty years. She has just finished playing Aunt March in Nova’s Little Woman. A teacher, with post graduate qualifications in Arts Education, Jennie has worked in all facets of the theatre. She is currently directing her school’s production and assisting with drama coaching at her children’s secondary school.