Spring Break
The Daily OrangeInternational twist to 'Godspell' succeeds in plot line, acting
By PennyMaria Jackson
Posted: 12/4/08, 2:11 AM EST Section: Feature
The second act started with a lust-filled "Turn Back, O Man" performed by Brandi Chavonne Massey, signaling that the mood of the show was about to change.
The stage was decorated with warm colors and draped in fabric. There was no doubt that Jesus and his disciples' voyage had brought them to India.
One of the best scenes in the show followed as the disciples acted out parables of the Pharisees questioning Jesus.
In this scene, the set, blocking, comedic timing and movement all worked together, creating an intriguing and successful scene.
The choreography by Anthony Salatino and movement consultants Leslie Noble and Lauren Unbekant enhanced the show by establishing different countries through movement and specific styles of dance. The actors' physical portrayals of various characters in the parables such as old woman, glutton and king were perfect.
No matter the genre of art, the crucifixion scene is difficult to recreate, and unfortunately this production didn't get there.
In the "Finale," the strobe lighting, hard rock music and un-coordination of the pile of actors at Jesus' feet detracted from the seriousness of the moment. But once again, the show resumed its previous joyous mood, ending with a reprise of "Day by Day."
The colorful costumes enhanced the energy of the show and seemed to be culturally specific representing indigenous people from various nations. Lanterns flew in from the top of the stage to set the scene for China, adding ambient light to an already nearly perfect lighting scheme.
A circular spinning stage that mirrored the globe and a similar huge round back drop center stage unevenly cut into seven segments that may represent the seven continents of the world.
"Godspell" has been produced time and time and time again, yet director Maharaj's concept of world unity gives the show a refreshing makeover that comes at an appropriate time in world history, placing this production on a thematic pedestal.
pmjackso@syr.edu.
The stage was decorated with warm colors and draped in fabric. There was no doubt that Jesus and his disciples' voyage had brought them to India.
One of the best scenes in the show followed as the disciples acted out parables of the Pharisees questioning Jesus.
In this scene, the set, blocking, comedic timing and movement all worked together, creating an intriguing and successful scene.
The choreography by Anthony Salatino and movement consultants Leslie Noble and Lauren Unbekant enhanced the show by establishing different countries through movement and specific styles of dance. The actors' physical portrayals of various characters in the parables such as old woman, glutton and king were perfect.
No matter the genre of art, the crucifixion scene is difficult to recreate, and unfortunately this production didn't get there.
In the "Finale," the strobe lighting, hard rock music and un-coordination of the pile of actors at Jesus' feet detracted from the seriousness of the moment. But once again, the show resumed its previous joyous mood, ending with a reprise of "Day by Day."
The colorful costumes enhanced the energy of the show and seemed to be culturally specific representing indigenous people from various nations. Lanterns flew in from the top of the stage to set the scene for China, adding ambient light to an already nearly perfect lighting scheme.
A circular spinning stage that mirrored the globe and a similar huge round back drop center stage unevenly cut into seven segments that may represent the seven continents of the world.
"Godspell" has been produced time and time and time again, yet director Maharaj's concept of world unity gives the show a refreshing makeover that comes at an appropriate time in world history, placing this production on a thematic pedestal.
pmjackso@syr.edu.
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