Blessed are You! If You Made It to Viviana Theatre’s Godspell, That Is

by Meg Bryan

Putting on classic shows with changes that are vastly different than how they are traditionally done can be a tricky thing to succeed at. I’m sure we can all name one of these types of shows that, to put it bluntly, did not work for whatever reason. This is not the case when talking about Viviana Theatre’s production of Godspell. The team made a bold choice with the setting of the show, placing the cast in the lobby of an airport. Not only that, but there was the extra layer of this production being hosted in a church. Whether this was done intentionally or not, that extra layer added a strangely sentimental deeper layer. Godspell is one of those incredibly adaptable shows that can be done in nearly any setting, but it takes more than a different and fun idea to pull it off well. That’s what made this production all the more impressive.

Upon arrival at the venue, I thought I had to be in the wrong place at first when seeing a placard welcoming us to Gate G26 (a possible abbreviation of Godspell 2026?). After realizing that I was not completely lost, I found my seat and took in the intimate space. Audience seating was on both sides of a taped off catwalk on the floor, allowing the cast to meander among the audience easily. There was a stage platform at the back of the room where the five-piece pit resided, and the cast used it for further playing space. Several members of the cast were already wandering around the space as the audience was taking their seats, chatting with us and each other about airline related topics. Among the chatter, there were pre-recorded “announcements” played over the speakers as we got closer to the start time, like an ID or suitcase left behind belonging to people with very funny sounding names. Of course, I would be remiss to leave out the ever popular Airport Comfort Team made up of two members: a kind and wonderful dog handler who I wasn’t able to catch the name of, and her adorable dog named Violet.

When the show kicked off and all of the technical elements got to show off, it felt as though we were transported into a completely new space. With the lights and sound at full throttle and the cast tearing away their comfy airport gear to reveal vibrant outfits underneath, the energy shifted from the calm hum of a waiting area to the triumphant shout of a rock concert. Lighting Operator John Harris and Sound Operator Tom Weber are to thank for a large portion of that energy change. Weber did a wonderful job working out the balance between music and vocals to where hearing the lyrics was never an issue. Harris’ lighting design added to the vivid scene with bold colors and maneuvering that mimicked that of a concert, complete with a light shining right in your eye for a moment (there were sunglasses at concessions to help with that!). The pit was what really sold the rock concert vibe. Led by Music Director Rob Diton on keyboard, joining him were Dan Kitching, Sam Stewart, and Joel Kunreuther on guitars, John Tatarowicz on bass, and Joe Kitching on drums. This group was on fire the whole time, never lacking in energy through every different genre that appears in this score. Diton did an expert job, both on bandleading and teaching music to the cast. The harmonies were clear and well balanced, and there were even moments I felt sounded just like the 2011 cast recording which I could tell was the inspiration. Both direction and choreography were done masterfully by Matthew English, especially in utilizing the entire space in a way that still made each movement feel organic. No two scenes ever felt too similar, and there was a wonderfully childlike energy that emerged throughout each of the parable scenes. The choreography was upbeat and fun to watch while still being simple enough that anyone who bought a ticket with a “Flight Crew Pass” (audience participation pass) could be pulled into a dance and pick it up quickly.

The cast themselves were electric from the very start. As mentioned previously, various storytellers were striking up conversations between each other and some audience members about typical airport subjects. It wasn’t until the announcement of Flight 316’s cancellation that we saw collective disappointment and frustration from our cast. The announcement continued to say that no more flights would be coming through our airport, leaving our cast of characters stuck with nowhere to go. Once that news and the emotions settled, the show sparked to life. Before getting into specific cast members, I want to give major kudos to both the cast and music director Diton for tackling the monstrous first song that is “Tower of Babble.” Not only did they choose to include it while some productions do not, but they did it extremely well which is cause for some extra congratulations.

As the storytellers shed their dark and baggy clothes to reveal much more colorful outfits, we meet Matt Stickel portraying John the Baptist, who would later become Judas Iscariot. Stickel was first outfitted like a janitor, using a spray bottle to “baptize” the rest of the cast. The final person to approach him with the intent of being baptized was Jesus, played by Jess Frankl. These two were a magnetic pair to watch, but they were just as strong on their own as well. Frankl was poised and gentle as Jesus, acting as a true teacher to her followers. Her voice was a soft yet rich alto sound, able to sing most of the score in the original octave. Her expressions were bright and kind until they weren’t, changing to despair and panic in the ending sequence. I also happen to love this show even more when either Jesus or Judas are played by femme-presenting actors, but I may be biased from when I got to play Jesus in high school. Stickel was a fantastic contrast to Frankl once he was settled into the deceitful behavior of Judas. He was gruff and stoic until, much like Frankl, he wasn’t. During the betrayal, he was obviously pained by what he agreed to do which makes this story all the more heartbreaking. “All for the Best” has always been a favorite song of mine from this show, and these two only solidified that opinion. I was particularly impressed by Stickel’s diction in that number, the Judas verse is not an easy one to pull off! Their interactions all throughout the show painted the perfect picture of the relationship between Jesus and Judas and all of the conflicting emotions felt by both of them during their story.

A production of Godspell would not be complete without an incredibly strong group of storytellers, and we have just that in this cast. There was a wonderful balance within the parables where each person was able to let their acting prowess shine, and a lot of them also had a spotlight moment in the form of a song. Kelsey Weber, who is also credited as Assistant to the Director, sang the first feature, “Day by Day,” starting with a softer and gentle tone. As the song progressed, her vocals opened up to a much more powerful sound, using that volume to signify how deeply she trusts and believes in Jesus’ teachings. Jill DiLucido takes on the powerhouse number, “Learn Your Lessons Well.” She presented with a rock tone that matched her aesthetic perfectly, exuding confidence and strength for the entire number. Speaking of powerhouses, let’s talk about “Bless the Lord,” sung by Ann Rosen. What a beast of a song this is, and boy, did she deliver. She showcased her massive range with ease with a professional-grade stage presence that was only increased by the gorgeous jacket she wore with a cape that looked like angel wings. “All Good Gifts” was sung by Morgan Devlin, accompanied by herself and the rest of the cast signing the lyrics in ASL, an additional touch I always love to see for this number. Devlin’s vocals were smooth with a rich tone that provoked a feeling of overall calm when listening. She also sported a bright smile for the entire number which proved to be very contagious. Closing out the first act was Megan Grandizio, singing “Light of the World” with a radiant energy that vastly contrasted the grumpy looking storm cloud on her shirt. Her physical performance was just as commanding, turning the confidence up full blast and using all of that energy to carry her to every corner of the space without missing a beat.

After intermission, we returned to a short reprise of “Learn Your Lessons Well,” featuring the full cast and many different soloists, which transitioned into “Turn Back O Man.” Amanda Hoffman led this number with grace and certainty. She leaned into the flirty and sultry nature of the song in a very tasteful manner, and her powerful vocals were showcased beautifully throughout. As the second act turns more towards negative emotions, we are taken into a somber sort of calm with “By My Side.” Kathy Sarlson sang lead with a gorgeous classical tone with rich vibrato, and she was accompanied by Brittany Murphy, Michaela Morgan, Ann Rosen, and Bec Smith on the close harmonies humming sweetly underneath the melody. The five of these performers blended wonderfully together, and Sarlson in particular floated her melody over the rest of the voices effortlessly and with expert level skill. Last but certainly not least of the featured singers was Gavin Huczko-Summerford performing the high energy “We Beseech Thee.” His energy throughout the entire show that came before this number was electric, but this song turned that up to eleven. From his bright smile to the enthusiastic execution of the choreography, this number was the exact amount of high energy that we needed as the story began to turn gloomy. Rounding out the storytellers were the aforementioned Brittany Murphy, Michaela Morgan, and Bec Smith as well as Ali DeLeo, Francis Evans, Kaylee Johnson, Dawn Sheppard, Nanci Smith, and our furry friend Violet. As a collective, they brought a childlike wonder to the vast majority of the story, especially the characters they portrayed in each of the parables. There were many times each of them pulled my eye with wonderfully comedic moments where they weren’t necessarily at the forefront of the scene, and the rapport they had with each other was clear as they freely engaged in sibling-like banter. This obvious close connection that threaded this crew together made the show feel that much more special.

This show is always a go-to if you’re looking for good vibes and high energy, but Viviana Theatre’s production was decorated with a special kind of love and connection. These are only a couple of the elements that are essential to the core of Godspell as a show. If you had a chance to see this incredibly talented group of people, you should feel truly blessed (pun not intended)!