MHoward
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Godspell - FINALEI directed Godspell last year (and am beginning rehearsals now for Godspell 2007) and had the same concerns about the finale. I decided to extend the crucifixion by adding Stations of the Cross. I had the entire finale music repeated. At each section I would have Jesus play out a station of the cross.
I picked several stations including Jesus is condemned, the scourging, Veronica wipes the face of Jesus; Crowning of thorns, the wailing women. Each station was preceded by a blackout. For example, during the scourging, cast members in black cloaks ran across the stage and whipped Jesus with their open hands that were dipped in theatrical blood. I used four people, two coming from each side, adding to 40 lashes). For the keen observer, the stations recreated the sign of the cross.
At each station when the spot light came up we created a still life or tableaux. The light is very dim and we will be using a fog machine this year.
Once the stations are done, there is a black out and we hear the nailing to the cross, in full blackout. When the lights come back up, Jesus is on the cross, battered, bloody, and beaten with only his torn white pant. He sings and I have the cast n different levels. I have a male playing John the Beloved and a woman playing Mary, mother of Jesus. They are at the foot of the cross. Veronica ascends the steps at this point as well.
Once the cast sings "Oh God You're Dead" there is silence other than minimal weeping from the cast. Out of the darkness of the theater, a young girl about 8 years old dressed in all white begins to walk down the aisle singing "Long live God". She continues to sing by herself until she reaches the stage, comes up on stage and then up onto the platform with the cross at which time she touches Mary's shoulder. Mary then begins to sing “Long live God" and is eventually joined by the other cast members.
The cast members then take Jesus off the cross and lift them on their shoulders and pause at the center steps leading to the audience. At the drum / cymbal crash during Prepare Ye/Long Live God. The cast raises Jesus above their heads and walks down the center steps and down the center aisle of the theater. As the last chord of the show begins to dissipate from the air, the cross is lit with a back light to symbolize the resurrection.
It was very effective. I hope this helps.
M
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Robinflamingo
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I didn't know how to respond to this when I first read it, but now I'm going to try.
Yes, I understand the show is meant to be flexible, and yes, I know lots of people stage the show far more adventurously than I have, but this just bothers me all to pieces.
First of all, the Twelve Stations of the Cross are not universally recognized or understood. Especially in the non-denoms and more non-liturgical Protestant denominations, some folks have never been exposed to the stations.
Secondly, you just added not only an interpretation, but basically a medieval Passion Play to something that isn't even written to be there! Many of us add a resurrection, but we do it within the context of the music and bows. I think what you are planning verges on rewriting, and changing the entire concept of the show. In its original form, Act One is the Life of Christ, and Act Two is the Passion of Christ. You've added an Act Three.
I don't mean to hurt feelings or be unduly critical, but I don't think your audience is going to appreciate your intent. My latest production was done at a Christian high school, and all the members of the cast professed Christ as Lord, as well as the staff and musicians...but when I mentioned this to several of them at our Christmas reunion, they were stumped. Quizzical looks abounded.
I look forward to your response.
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jcstar
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Why not ask Stephen Schwartz and see what he thinks?
In all honesty, though... your idea is good, but is more suited for JESUS CHRIST SUPERSTAR rather than GODSPELL.
My opinion, though.
Andy.
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MHoward
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I have addressed your observations within the posting. Please do not take my comments as criticism, but mere observations.
| Quote: | | First of all, the Twelve Stations of the Cross are not universally recognized or understood. Especially in the non-denoms and more non-liturgical Protestant denominations, some folks have never been exposed to the stations. |
To me, it is not important for the audience to have a theological background to understand the Passion of Christ or Godspell. First, the stations are abbreviated into the context of the playing of the Finale. The Finale is played twice and sung the second time only. To me, the Passion is the essence, as you have already noted, of Act II. Act II is meant to be the Passion.
| Quote: | | Secondly, you just added not only an interpretation, but basically a medieval Passion Play to something that isn't even written to be there! Many of us add a resurrection, but we do it within the context of the music and bows. |
This idea of the Passion is incorporated into the existing music of the show. To me, the Passion and Resurrection are two very different ideas and concepts. I use a light cue to symbolize the Resurrection; while I use the Finale music and Stations of the Cross to depict the Passion. Why water down the Passion? It is what it is.
| Quote: | | I think what you are planning verges on rewriting, and changing the entire concept of the show. In its original form, Act One is the Life of Christ, and Act Two is the Passion of Christ. You've added an Act Three. |
I respectfully disagree with your over simplification of Godspell. Act I is NOT the life of Christ. Act I is the building up of a community and the self examination of the cast (society’s archetypes) as part of a larger whole. By the end of Act I the audience and cast should understand that the whole is greater than the sum of the parts. Why do you think the Tower of Babble and the Prologue are there?
Further, by depicting a more explicit Passion, ala Stations of the Cross, the audience is able to experience the pathos the show demands. Somehow, in this day and age, the idea of Jesus standing next to a chain link fence with red ribbons in his hands does not do the concept of the show justice.
As I tell my cast members, this show is NOT a vehicle to expound ones beliefs, but about the formation of a community. What I find intriguing about Act II is that after all the work the community has done to solidify itself; it is so quick to turn in on itself.
To me Godspell is about a man (Jesus) selling something to a group of people with very differing needs. That “something” needs to be defined by each cast member. In general terms, that “something” is friendship, love, forgiveness: community. Each cast member will eventually buy into what Jesus has to sell, at a price.
Act II shows how delicate relationships really are. We bring the audience with us on a wonderfully funny and exhilarating ride during Act I. Act II is meant to smack the audience in the face with the unexpected realization of how difficult maintaining the community can be. Yes, it is a Passion Play of a real man nailed to a real cross. That in itself is very powerful, but not for the obvious reasons (religious). The show runs so much deeper than that.
| Quote: | | I don't mean to hurt feelings or be unduly critical, but I don't think your audience is going to appreciate your intent. |
I think each theater company has an obligation to know its audience. I directed Godspell last year with the same Finale and received standing ovations every performance. Audience members were clearly moved and left with a wonderful mix of emotions.
I have received many comments from audience members saying that the complexity of the show (symbolism etc) stayed with them long after leaving the theatre. One said that a few days after seeing the show, she figured out the subtlety of the costumes. (Cast member would remove layers of colored clothing to reveal all shades of white by the end of the show) What makes me happy about directing Godspell is that I can make people think about the show long after the theater has gone dark.
| Quote: | | My latest production was done at a Christian high school, and all the members of the cast professed Christ as Lord, as well as the staff and musicians...but when I mentioned this to several of them at our Christmas reunion, they were stumped. Quizzical looks abounded. |
Godspell can be a VERY complex show, which is what makes it worthwhile. This is a show for everyone, young and old; but don’t fool yourself, not everyone will digest the nuances.
[/quote]
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DramaRobin2002
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While I do see your intent and agree with most of your breakdown of what Godspell is supposed to mean, I'm not so sure that I agree with the rendering of the Finale. I do have a question though to help me better understand- are the cast members portraying Veronica, Mary and John those characters throughout the show or are they only in that section? I can see how in action your Finale can be very moving but I believe most of my hesitation of it is based on my own love of a very simple Finale.
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Tom
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As a director I prefer to use the KISS method of direction.
Keep It Simple Stupid
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DramaRobin2002
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| Tom wrote: | As a director I prefer to use the KISS method of direction.
Keep It Simple Stupid |
Ha ha, amen to that Tom! That's the way we try to keep it in my theater group.
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MHoward
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Godspell is Complex | Tom wrote: | As a director I prefer to use the KISS method of direction.
Keep It Simple Stupid |
That method might work with shows that are either character or plot driven e.g Sound of Music, Music Man but Godspell is meant to have many layers. Sure, Keep it Simple Supid works, but does it challenge the actors or even does the show justice?
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Robinflamingo
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Re: Godspell is Complex | MHoward wrote: | | Tom wrote: | As a director I prefer to use the KISS method of direction.
Keep It Simple Stupid |
That method might work with shows that are either character or plot driven e.g Sound of Music, Music Man but Godspell is meant to have many layers. Sure, Keep it Simple Supid works, but does it challenge the actors or even does the show justice? |
Yes. An actor challenges him/herself internally, not with millions of effects and additions.
The most moving and meaningful version of Godspell I've ever seen was the most simple.
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DramaRobin2002
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Re: Godspell is Complex | MHoward wrote: | | Tom wrote: | As a director I prefer to use the KISS method of direction.
Keep It Simple Stupid |
That method might work with shows that are either character or plot driven e.g Sound of Music, Music Man but Godspell is meant to have many layers. Sure, Keep it Simple Supid works, but does it challenge the actors or even does the show justice? |
How is Godspell not character driven? The worst productions I've seen were those that focused less on a small group of actors and overdid everything else. The actors are challenged even more in a simple production because it really is all up to them.
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MissMusic
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Well, i can tell you what we did last year, granted this is Godspell Junior and we're a JuniorHighSchool.
Jesus is on the cross as he begins to sing the Finale. The cast is sitting and crying for him. As he continues to sing, the stage is drenched in a red light, strenghthening with each verse. Theres also a strobe light intensifying each time also. As he finishes the "Oh god i'm dead" The auditorium goes totally black. The cast grabs our battery powered candles. Jesus walks off stage The soloist starts singing, and she turns her candle on, so you see one white light on the stage. Then the second person adds on in the same fashion. Then a few more. Finally when everyone is in the lights turned on dimly and as we get more up beat we begin walking down to the auditorium. This is where the music mixes with Prepare ye and we are literally singing in the audience. Finally we go back on stage and end in an array pose of all of us together, holding out our candles!
Granted the version you are doing is different, but you might have a few ideas from what i just said 
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DramaRobin2002
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| MissMusic wrote: | Well, i can tell you what we did last year, granted this is Godspell Junior and we're a JuniorHighSchool.
Jesus is on the cross as he begins to sing the Finale. The cast is sitting and crying for him. As he continues to sing, the stage is drenched in a red light, strenghthening with each verse. Theres also a strobe light intensifying each time also. As he finishes the "Oh god i'm dead" The auditorium goes totally black. The cast grabs our battery powered candles. Jesus walks off stage The soloist starts singing, and she turns her candle on, so you see one white light on the stage. Then the second person adds on in the same fashion. Then a few more. Finally when everyone is in the lights turned on dimly and as we get more up beat we begin walking down to the auditorium. This is where the music mixes with Prepare ye and we are literally singing in the audience. Finally we go back on stage and end in an array pose of all of us together, holding out our candles!
Granted the version you are doing is different, but you might have a few ideas from what i just said |
I do really like that idea. It's different but it isn't over the top.
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MHoward
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Re: Godspell is Complex | DramaRobin2002 wrote: | | MHoward wrote: | | Tom wrote: | As a director I prefer to use the KISS method of direction.
Keep It Simple Stupid |
That method might work with shows that are either character or plot driven e.g Sound of Music, Music Man but Godspell is meant to have many layers. Sure, Keep it Simple Supid works, but does it challenge the actors or even does the show justice? |
How is Godspell not character driven? The worst productions I've seen were those that focused less on a small group of actors and overdid everything else. The actors are challenged even more in a simple production because it really is all up to them. |
Godspell is not a character driven show in that each actor is actually playing a version of him or herself. True, each actor may become an archetype of society around him, especially within the context of the parables. Godpsell focuses on storytelling to further the storyline.
That is not to say the characters do not change throughout the progression of Godspell. Indeed, each actor must decide when to buy into what this Jesus person is selling...it usually becomes apararent within the context of a solo or duet. However, it can happen at any time in the show.
I totally agree with you that some productions lose sight of the simplicity of throwing a small group of people together to form a community. You are right in that the formation of the community is truly the essence of the show. Most casts seem to actually build the community, not as "actors" but as real people. I tell my cast that you really can't fake building a community. That is why I spend so much time working on team building etc.
I really don't think "Keep It Simple Stupid" works well with Godspell. Godspell should be organic and have an improvised feel; this, in my opinion does not lend itself to simple or stupid.
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MHoward
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Re: Godspell is Complex | Robinflamingo wrote: | | MHoward wrote: | | Tom wrote: | As a director I prefer to use the KISS method of direction.
Keep It Simple Stupid |
That method might work with shows that are either character or plot driven e.g Sound of Music, Music Man but Godspell is meant to have many layers. Sure, Keep it Simple Supid works, but does it challenge the actors or even does the show justice? |
Yes. An actor challenges him/herself internally, not with millions of effects and additions.
The most moving and meaningful version of Godspell I've ever seen was the most simple. |
According to the script, Godspell is meant to be updated with each performance. The ability to make adjustments (additions/deletions) is what makes Godspell organic and timeless... how many productions are still done as clowns? The original Godspell certainly did not use the KISS method, given the literature concerning why clowing and pantomime were originally used. It is actually a very fascinating theological dialogue.
You are right in that an actor challenges himself internally... but that does not mean that Godspell is a character driven show. If an actor is not challenged or evolving, then why is he/she doing the show? Godspell challenges actors to perfect their improvisational skills, storytelling abilities, comedic timing to name just a few.
I, too have been moved when Godspell seemed simple. But to seem simple is not to be simple. Keeping an improvised and organic feel is probably one of the hardest things to accomplish when performing Godspell.
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MHoward
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| MissMusic wrote: | Well, i can tell you what we did last year, granted this is Godspell Junior and we're a JuniorHighSchool.
Jesus is on the cross as he begins to sing the Finale. The cast is sitting and crying for him. As he continues to sing, the stage is drenched in a red light, strenghthening with each verse. Theres also a strobe light intensifying each time also. As he finishes the "Oh god i'm dead" The auditorium goes totally black. The cast grabs our battery powered candles. Jesus walks off stage The soloist starts singing, and she turns her candle on, so you see one white light on the stage. Then the second person adds on in the same fashion. Then a few more. Finally when everyone is in the lights turned on dimly and as we get more up beat we begin walking down to the auditorium. This is where the music mixes with Prepare ye and we are literally singing in the audience. Finally we go back on stage and end in an array pose of all of us together, holding out our candles!
Granted the version you are doing is different, but you might have a few ideas from what i just said |
I LOVE that idea. I think we will incorporate the candle in the finale. Thanks for such a great idea!!!!!
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minesayrejoice
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| Tom wrote: | As a director I prefer to use the KISS method of direction.
Keep It Simple Stupid |
............I love you, Tom.
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Tom
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What I meant by keep it simple stupid is this: As a director avoid pretense. Keep directions clear and to the point. Keep the concept clear and in focus. Don't overload the play (any play) with more baggage than the playwright put in the script. Too many Godspell Finales are over done with heavy concepts. The original production was so effective because it was so simple. How much more simple could the death of Jesus be than Oh, God!, I 'm bleeding, dying, dead!
Too many directors (myself included at times) over explain - it is all so much artisic wanking! The stupid refers to ME as the director, not the show!
Godpell is a deceptivley hard show to do well. It is not character driven in the traditional sense, but each character has an arc that must be followed. They must be clearly defined individuals - so that they can form a group.
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Tom
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Re: Godspell is Complex[quote=The original Godspell certainly did not use the KISS method, given the literature concerning why clowing and pantomime were originally used. It is actually a very fascinating theological dialogue. [/quote]
Having seen the original production many times in the early 70's, I would say it was certainly done simply. I am not saying it did not have a deep meaning or concept - but how much more simple could it be that a set consisting of 3 planks, 2 sawhorses and second hand costumes pieced together. At the time Godspell was praised for it's simplicity - while the over produced Bway JCSuperstar was faulted for being needlessly complicated.
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Robinflamingo
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Re: Godspell is Complex | Tom wrote: | | Having seen the original production many times in the early 70's, I would say it was certainly done simply. I am not saying it did not have a deep meaning or concept - but how much more simple could it be that a set consisting of 3 planks, 2 sawhorses and second hand costume pieced. At the time Godspell was praised for it's simplicity - while the over produced Bway JCSuperstar was faulted for being needlessly complicated. |
That's where I stand on Godspell as well - the idea of being needlessly complicated just dismays me. The community and their faith in this Jesus is all that is needed to make the finale meaningful. But having said that, what a huge task it is! I think that those productions that get caught up in the trappings can still provide a meaningful experience for their patrons, but I don't think it's necessarily the Godspell experience.
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Stollhofen
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For my performance of Godspell, once the initial "Long Live Gods" were over, we had the entire cast entire in twos from opposite sides of the stage (= =) It was similar to a funeral march, as there was just a piano playing, all make-up had been removed, and we had our faces down. Then, we snapped them up to see a dove flying across a screen backdrop, and we broke out into the song combo of LLG and PYTWOTL. Finally, we went into PYTWOTL, walking one step every one in a while until we were in a V shape, with a smaller V inside it, with the point towards the audience. We all raised our arms on the last "Lord" and then, as the keyboard slides down the scale, we dropped our arms and bodies to a bow, as though we were puppets.
I'm not entirely sure what to think of your performance. The very end seems effective, and I love the child walking up the isle, but otherwise, I think it seems a little too "over-done" for the simplicity of the last scene.
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jcstar
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I really don't get the Apostles tugging on the fence. Unless it's supposed to represent the flogging...
Andy.
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Hortonhearsawho
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Tom , you are right as usual
I believe the simplicity of this show is the beauty of it.
There are no fancy costumes, no elaborate set designs here because they are not the point. The point is the bond within the cast , the lessons taught by christ , and the chalenge to love one another even after Christ is removed from the scene
I believe if I saw your show I would leave saying " wow that last scene was really great, the smoke machine, the fake blood, all those special affects, it made it seem so real."
But I would forget that the rest of the show challenged me, asked me to think outside the box society has painted.
Also I have a confession,
I have a strong Christian background, I am heavily involved in my church , have studied my bible for quite some time now and believe Christ died to save each of us, but I had no sweet clue who this "veronica" is until I looked her up , I guess she was so important the forgot to put her in the bible jk  .... I guess that just goes to show these additional characters can be lost to your audience.
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pretty_melody
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Im dissapointed that our director is considering not doing "Beautiful city" and just doing the day by day reprise..
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DramaRobin2002
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| jcstar wrote: | I really don't get the Apostles tugging on the fence. Unless it's supposed to represent the flogging...
Andy. |
I think it really depends on how it's done. Personally, I think it makes the Finale seem a bit more powerful, especially if you don't have access to much lighting changes for the scene. The shaking seems to support the "electric fence" idea more than if nothing was happening. It also seemed to me that the disciples are either trying to stop things or share in Jesus' pain. Of course, I could be totally off the mark but that is what I always got from the scene.
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Robinflamingo
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| pretty_melody wrote: | | Im dissapointed that our director is considering not doing "Beautiful city" and just doing the day by day reprise.. |
I didn't include Beautiful City for two reasons:
1. It's not in the original show
2. It's not Biblical, or based on a hymn like every other song.
It just doesn't fit, in my opinion, and no one missed it.
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pretty_melody
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Oh...well now I can see how that works *sorry Im an idiot*
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DramaRobin2002
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| pretty_melody wrote: | | Oh...well now I can see how that works *sorry Im an idiot* |
Not an idiot. The show works well without it but it is still a beautiful song. I can see how one would miss it  .
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OnceUponATime
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We didn't use "Beautiful City," either.
Personally, I hate the idea of the passion, and I'd make a guess that Schwartz would, as well.
Judas's rolling up of his sleeves to an old-style circus tune is what that part is really about. His crucifixion, metaphorically speaking, was just a circus.
And not a medevial passion play.
You can easily put layers into this show without changing context and meaning. At the end of Save the People, our Jesus did a trust fall into the arms of his disciples, foreshadowing their carrying him off the cross.
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MHoward
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Re: Godspell is Complex | Tom wrote: | | [quote=The original Godspell certainly did not use the KISS method, given the literature concerning why clowing and pantomime were originally used. It is actually a very fascinating theological dialogue. |
Having seen the original production many times in the early 70's, I would say it was certainly done simply. I am not saying it did not have a deep meaning or concept - but how much more simple could it be that a set consisting of 3 planks, 2 sawhorses and second hand costumes pieced together. At the time Godspell was praised for it's simplicity - while the over produced Bway JCSuperstar was faulted for being needlessly complicated.[/quote]
I totaly agree with the simple set. We are using a cat walk with 2 sets of stairs that come from wither side. We also have 2 boxes and a set of stairs coming from the stage to the audience.
The costumes are very simple as well.
I try to distinquish between complexity of the script, storytelling, and meaning of community-buiding and the simplicity of set and costumes. As a director I feel complelled to challenge the theatergoer at the same time give the audience the emotional guts of the story. Since the theater I am with is in Virginia, our patrons will come to see Godspell BECAUSE they feel it is a "religious" show. In fact, a friend of mine at work asked me if we would be doing a ressurection this year. WOW, I thought... what more can I do.
I think theaters are always walking the tight-rope of giving audiences what the want (or think they want) and staying true to the original. For me, that is the beauty of Godspell, it should always be updated, fresh, and edgy. I agree with your ideas of KISS in that the concept needs to be clear for the cast. Honestly, I struggle with keeping my vision and goals clear.
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MHoward
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| OnceUponATime wrote: | We didn't use "Beautiful City," either.
Personally, I hate the idea of the passion, and I'd make a guess that Schwartz would, as well.
Judas's rolling up of his sleeves to an old-style circus tune is what that part is really about. His crucifixion, metaphorically speaking, was just a circus.
And not a medevial passion play.
You can easily put layers into this show without changing context and meaning. At the end of Save the People, our Jesus did a trust fall into the arms of his disciples, foreshadowing their carrying him off the cross. |
You know what really bugs me about some of these posts - people seem to keep throwing Schwartz's name around. He wrote most of the music, not the book ... after John-Michael Tebelak created the entire concept of Godspell as his master's thesis at Carnegie Mellon. In fact, most of the lyrics come directly out of the Episcopal Hymnal, not from Schwartz.
For people who do not know the history of Godspell, Tebelak came up with the idea during an Easter service at his local church. He realized that the entire spirit of the service was missing. He came up with Godspell as a way to reach the people. He wanted to build a community... show what the gospel of Matthew is really about. That is the context and meaning of the show.
I think people really need to step back try to seperate what the writer was trying to do with the show (build community) and the particular vehicles that were used at the time (chain link fence with red ribbons) as they relate to the counter culture of the 1970s. Sure, the original included clowns, pantomime and yes, even a fence with red ribbons. Jesus had an afro... should we keep that part too?
I think Tebelak would definitley approve of updating the show each time it is presented to appeal to your particular audience. In fact, my libretto indicates just that. The libretto is used as a skeleton for the show, not a dictate, (especially from the composer). To me, Godspell is so much more than Schwartz. Don't get me wrong, I love his work; but let's keep his part in perspective in relation to Godspell.
So, in short, directors should really read the notes provided in the libretto and strive to make Godspell as real to their audiences as possible. Know your audience and you'll have a winning show.
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DramaRobin2002
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Actually, only two people sited Schwartz and you are right, he only wrote some of the music and not even all of the lyrics because much came from hymns. But that doesn't really lessen any of the points. Really, if I wanted to hear or see a direct telling of the Passion, I'd go to church. I'm all for directors changing up Godspell to fit their cast, but I realize the fact that one can go too far with that. The best productions I've seen have stuck closely to the script and have used their creativity on presentation. I recently went to a production that used the script itself almost word for word but the setting was Central Park. The characters ran the gamut from a hotdog seller to a crazy homeless woman to a pickpocket to a business woman. As each accepted Jesus after their songs or a turning point for their character, they revealed a dove somewhere on their person. The Sonia character had it as a tattoo. Another character had it on her jacket. It was really the best production of Godspell I have even seen.
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OnceUponATime
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I mentioned Schwartz because the notes from him in the beginning of the script says (and I'm paraphrasing because I no longer have a script in front of me) that this show is not, nor should it ever be, about religion. It is about community.
If you lose that, then you lose the message of Godspell.
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