The Greatest Story Ever Belted Out

FOR TWO WEEKENDS IN MARCH, the Adams House Drama Society's production of "Godspell" swims in the Pool Theater, seeming like a cross between "Jesus Christ Superstar" and Shiny Happy People. Accompanied by a six-piece rock band, the cast dishes out enough cheese to feed the entire audience. Some consume the cheese and are satisfied; others just feel queasy.

Produced by Noah Helman '98 and directed by Scott Brown, "Godspell" is a rockin' 1970s romp through the Gospel of St. Matthew. Part Brady Bunch, part Jim and Tammy Faye, the musical is a colorful, energetic, secularized depiction of Biblical parables strung together with lively song-and-dance numbers.

Except for a loose portrayal of the life of Jesus, there is no progressive plot to speak of. Also, with the exception of the central Jesus-figure played by Shar Van Boskirk '97, the characters are a featureless succession of disciples and smiley dancers.

The show begins in the dark with chaotic, simultaneous mumblings by the cast followed by a booming declaration of someone claiming to be God. Once the lights go up, the rest of the play is pure sugary sweetness. A group of overalls- and pigtail-clad performers engages in a bout of happy dancing and 100-watt smiling, not seen since Greg, Marcia and the Bunch donned the pastel bell-bottoms and harmonized to "Sunshine Day." One of the actors soon emerges with a cordless microphone and leads the rest of the group in singing the first of many toe-tapping, yet insipid songs with cheddary titles like "Learn Your Lessons Well" and "Light of the World."

The rest of the first act proceeds in a similar plot-free fashion. A song is sung by a member of the group followed by a short skit centered around a specific parable ("Love thy neighbor," "Judge not" etc.). The band begins playing and the parable is put to music. The actors rotate in leading the songs and skits with the Jesus stand-in always dictating the ultimate lesson.

Some of the routines work much better than others. The clever depiction of Lazarus' descent into hell as a breaking news story complete with a newschopper hovering between the Kingdoms of God and Satan was clever and fun. However, another scene narrated in a stereotypical French accent was just downright irritating. When two actors impersonating Siskel and Ebert exclaim after Frenchie finishes, "That was the worst scene I've ever seen," one can't help but not in agreement. Of the more than a dozen parable skits performed, too many were difficult to follow, easily forgotten and bother-some interruptions of the more exciting rock songs.

While the songs did outshine the skits, their performances also varied in degrees of success. Peter Wilson '99 and Christine Driscoll '97 each sang impressively, with Driscoll delivering a near-professional performance. Some other cast members, though, seemed to be in over their heads and would have been better left in the anonymity of the chorus. While Van Boskirk commanded her role well, her acting often was often overdone and her Jesus, too often flashing a nauseatingly sweet grin, seemed more patronizing than benevolent.

In the second act, the playwright seems to realize that the needs some kind of plot to end the play. So when the audience returns from intermission, "Godspell" ceases to be just smiley, insipid lessons and becomes a more foreboding graphic representation of the life of Jesus, replete with the Last Supper, Betrayal of Judas, and Crucifixion. The change in tone appears inappropriate, overly-contrived and unbelievable. The lack of character development and believable dramatic acting from the previously-perky cast prevents the audience from sympathizing with the characters. While the cast members were shedding laughably phony tears, the audience was so indifferent to the fate of the Messiah that, following the drawn-out crucifixion scene, there was not a wet eye in the house.

Much of the power of the show is derived from those features on the periphery. The talented live rock band surrounding the stage provided a cornucopia of upbeat musical styles from gospel to funk to 1950s rock. The staging brilliantly took advantage of the constraints of the Pool Theatre by often placing the audience in the center of the action and cleverly utilizing the beast-like visage overlooking the pool. The vibrant colors of the set design and costumes complemented the perky, upbeat tone of the actors and reflected the psychedelic influences of the show's 1970s origins. The choreography was remarkable in its diversity, creativity and energetic execution by the Energizer Bunny-like cast.

But the show itself demands too much of the theatre-goer. While the upbeat banality may be fun for a few songs, one quickly tires of squinting at the sunny spirits on stage. One can only remain attentive to hunky-dory plasticity for so long. If you like cheesy rock music, syrupy songs, a lot of smiley dancing and college kids dressed like pre-schoolers, "Godspell" is the show for you. But if you value plot and character development, dramatic acting and songs that won't give you a toothache, you may want to pass on this production.