KCACTF Review 4: Godspell (Last one!)

“Thou shalt not bear false witness” to Johnson County Community College’s production of Godspell, an upbeat and updated musical that is sure to uplift audiences.

 Godspell, originally written by John-Michael Tebelak with book and lyrics by Stephen Schwartz, is a story about a collection of outcasts and lost souls who strive to unite and better themselves through the teachings of Jesus Christ. Also there to assist them is Jonnie the Baptist, a peppy and enthusiastic Salvation Army officer whose attempts to inspire the disgruntled crowd have been futile. JCCC’s version is also set in the modern world (or a contemporary, littered street, complete with crumpled up newspaper and empty pop cans).

The structure of this story about the gang of misfits, which includes 14 cast members and 6 band members, is a series of parables based on the Gospels of both Matthew and Luke. The short sketches are set to music lyrics from traditional hymns.

The show’s musical selection is religiously based, but doesn’t attempt to convert audiences to the Christian faith. Most notably, the song “Day by Day” reached #13 on the Billboard charts in 1972, and is still recognized and played as muzac in elevators today. Other memorable songs include ”All for the Best,” which was complete with tap dancing and the moving company number “By My Side.”

Director Beate Pettigrew adapted the show to include specific characters such as “Kandi the prostitute” and “Judas the street pusha.” As the iconic Jesus himself, Jeremy Right was patient and gentle, with a calming voice that was easy on the ears. Also noteworthy was Tony Cintrony as “Ginger-Snap the drag queen.” High heels, fishnets and eyeliner-drawn-on-cleavage were no match for Cintrony, who proved to be perfectly comfortable in his drag attire and gave an honest and humorous performance.   

While the cast was strong as a whole, especially during empowering ensemble vocal numbers, it sometimes became hard to hear the one-liner jokes often present in the script. With 14 characters, the stage often got boisterously noisy, and lines of dialogue were drowned out.

Aside from modernizing the script, Pettigrew expertly incorporates pop culture jokes. From references to Charlie’s Angles and Thriller, the audience never feels as if they’ve been taken back to the original 70’s production. These references, combined with identifiable characters, make the show relatable to widespread audiences.

Kelly Vogel’s elaborate set design uses train tracks, concrete-looking steps and a full size pick-up truck that carries parts of the orchestra. The band’s onstage presence allows the audience to experience every element of the show first-hand, and the band members’ visible focus on Jesus further draws viewers into his message.

Though many elements of the show are impressive, the production itself was simply good. Without many memorable elements, the show is subject to fade in the minds of viewers, which, due to the decline of organized religion, is ironically the path that the message of Jesus has taken. Ultimately, the production is a success, allowing audiences the opportunity to contemplate faith, while simultaneously being entertained – and that’s the gospel truth.

KCACTF Review 3: Richard III

“Now is the winter of our discontent,” -- and so it was in the performance of the University of Minnesota Duluth’s Richard III, which provided much "discontent" throughout the production.

            UM Duluth’s production used the Colley Cibber adaptation, which was the most popularly performed stage version for nearly two centuries. Cibber’s script cut much of Shakespeare’s original lines, and also added original scenes to emphasize Shakespeare’s comedic intentions. UM Duluth also threw material from Sir Thomas More and Raphael Holinshed into the large, Richard III melting pot.

            The script follows the tale of the hunchbacked prince, who is determined to become a villain. Much of Richard’s anger stems from his brother Edward’s ascension to the throne. In order to quell his jealousy, Richard decides to take matters into his own crippled hand and kill off every threat to his reigning power.

The production’s only redeeming actor is Richard III, played by Corey Ryan Boe. As the deformed prince, Boe is consistent in his rigid sidestep and menacing voice, making him a captivating villain. This commitment distinguishes him from his fellow castmates, whose emotions are stoic and forced at best.

            UM Duluth’s production takes place in a crumbling train station. Multiple tiers and scaffolding comprise the set, but don’t enhance the production. Though director Tom Isbell’s setting idea was creative, it did not play out well, as the scene changes result in no noticeable differences in the set arrangement. Also bothersome is the loud background music, which often completely drowns out the actors.

            During the show, audience members have to resist the temptation to yell “off with his head” and are relieved when he is stabbed, not only because the villain is gone, but because the show is over. 

KCACTF Review 2: The Odyssey

In modern times, it wouldn’t be surprising to hear many people answer the question “What is the Odyssey?” with the retort “a mini van.” However, the theatrical production of The Odyssey, performed by Minnesota State University Mankato, brings a contemporary element to the epic story, making it another modern Odyssey worth recognizing.

            The Odyssey is one of two Greek epic poems by Homer. This particular poem centers on Odysseus, a cunning Greek hero who spends ten years trying to return to his homeland of Ithaca after fighting for a decade in the Trojan War.

            While Odysseus combats Cyclops, resists the sweet songs of the Sirens and is kept captive by the goddess Calypso, his wife Penelope and son Telemachus must ward off the suitors who come to woo the assumed widow. With the help of the goddess Athena, Odysseus attempts to return to his wife, unknowingly racing against time and the attentions of other men.

            The version performed by Minnesota State University Mankato is a humorous and irreverent adaptation of the direction by Mary Zimmerman, which often makes fun of the original Odyssey within the confines of the plot. While the entirety of the poetic Odyssey could take days to perform, Zimmerman’s abridged three-hour version moves at a steady pace and contains enough witty dialogue to keep audiences engaged.

            With 29 actors in the cast, there is hardly ever a dull moment. Clayton Oliver Rutschow, who plays Odysseus, tackles the role with a domineering stage presence. Rutschow fully grasps the many facets of Odysseus’ complex personality, from his compulsive lying to his determination to fight all odds against him, making his performance believable and inspiring.

            Also exceptional was Kimberly Michelle Steffen as Athena, Odysseus’ guardian angel (or God) and narrator of the play. Steffen enthusiastically took on Athena’s mortal disguises, ranging from a precocious child to an old man. The on-stage costume changes made Athena’s guises easy to follow, but her commitment and seriousness in playing each new role brought many laughs to the eager audience.

            In tackling a play of epic proportions, director Paul Hustoles chose an adaptation of the script that suited both his cast and the audience. While mentions of the Odyssey might cause some people to groan while remembering sleeping through the poem in high school English class, Hustoles’ creative stage directions make it impossible for audiences to fall asleep.

With a large ensemble, Hustoles employs actors to portray animals, posing as everything from sheep to dogs to pigs. The ensemble’s bestial mannerisms and “baas” and “oinks” are not only natural, but are hilarious as well, as audiences are pleased to see “animals” roam in and out of the scenes.

The set designed by Tom Bilese consists primarily of white sheets attached to long wooden poles, which are transformed from ship sails to Grecian pillars within seconds. Additionally, the blank backgrounds of the sheets allow for shadowing effects, which were especially effective in the memorable Cyclops scene, where the one eyed giant appeared to “eat” an actor.

To help establish the setting in the numerous scene changes, Steven Smith’s light cues effectively provide warm, golden glows when the action shifts to the heavens, and icy blue hues when Odysseus travels to the underworld. Masks worn by the gods and traditional Grecian togas worn by commoners also help to distinguish between characters, as many actors take on multiple roles throughout the show.

The drama’s only weakness lies in the sound, which incorporates both pre-recorded effects and melodies. Though not used often, the voice-overs came through as fuzzy and unclear, and the songs in the background and during scene changes seemed out of place.

Overall, the show was an incredible success, vividly depicting the long adventure of Odysseus with a tongue-in-cheek approach that leaves audiences simultaneously laughing at and cheering on the ancient Greek hero. 

Kennedy Center American College Theater Festival Review 1: Oedipus Rex

Don’t gouge your eyes out – St. Ambrose University’s performance of Oedipus Rex requires attentive eyesight to appreciate the doomed Oedipus’s attempt to avoid his prophesized fate. This unique, devised theater production utilizes ensemble collaboration in everything from physical movement to dramatic spotlights. Additionally, each of the seven cast members move seamlessly into multiple roles, both conceptual and human, to brilliantly convey the universality in Oedipus’s tale in a show that viewers must see to believe.