Godspell, most recently revived by the Westmont Department of Theatre, is, without a doubt, a very weird show. This musical/hippie Christian cabaret, originally on Broadway in the early ’70s, is derived from Bible parables and hymns. The show does not move through a traditional narrative (until the inevitable betrayal and crucifixion) — instead it’s an exercise in childlike wonder, ecstatic play, and cultish worship.
Don’t mistake that as a criticism: Sometimes, the weirder and more abstract theater gets, the closer it comes to expressing essential truths. So what essential truth is Godspell expounding? Is it, as seems to be the face-value interpretation, an exaltation of Christ and his teachings and his ability to create community? Or is it a sly insinuation of addiction to the rapturous worship of a charismatic leader?
Directed by Mitchell Thomas, Godspell is a whirlwind of Woodstock energy funneled through dynamic vignettes. Jesus (Ford Sachsenmaier) is played as a slightly irritable, demanding mascot, which adds a delectable touch of danger to a character whose personality is commonly expected to be serene. What a weird and wonderful way to subtly question the flawless divinity of modern culture’s vision of the son of God.
The cast of student actors are exceptional in their dedication to the material. Broadway-caliber vocals it is not — which is ideal for this kind of show. I listened to the Broadway cast recording, and all I could hear was a cast of actors instead of a rag-tag community of worshippers. Westmont’s show has a wonderful quality of authenticity and magic as we witness regular people transformed into jubilant beings basking in divine light. Thank you to the Westmont cast, crew, and band for a weird, wild ride of absurdity and devotion, and culty, cliquey congregation that I will continue to talk about to anyone who will listen.