Listed as Chicagoist's: This Week's Three To See Theater Round-up
Buzz News
Reviewed by Ken Payne
Godspell is a musical for everyone. Now that that has been stated, everyone should see this particular production by the Brown Paper Box Company. Creatively directed by M. William Panek, Godspell is fun, lively and has the audience captured from the first number “Prepare Ye the Way of the Lord”.
Originated in 1970 by director/writer Michael Tebelak for his master’s thesis project, Godspell is the Jesus story based on the Gospel according to Saint Matthew, though it takes place in a modern, urban environment and has dance-craved, colorfully-dressed kids taking on the roles of the apostles. In this adaptation, Panek superbly captures the youthfulness and energy of the original with well cast roles and is also able to successfully convey meaningful messages throughout by way of parables in the midst of humorous punch lines and physical comedy.
Doubling as “John the Baptist” and “Judas Iscariot”, Jake Mahler excels in both roles thanks in part to a strong vocal performance and finessed guitar playing. While Andrew Lund was aptly cast as “Jesus” and performs the role wonderfully with heart, passion and vocal prowess, the ensemble as a whole really brings the show to life. An all-around outstanding performance by Stephanie Rohr epitomizes the essential of Godspell, blending earnest fervor with joy, bliss, eagerness and curiosity. Rohr strengthens an already strong cast, but is not the only star to shine in this production as each member in the ensemble has something to offer and does so when given the chance during their own numbers.
From the classic “Day by Day” to such songs as “O Bless the Lord” and “Save the People” the live instrumentation is every bit as impressive as the cast.
Originated in 1970 by director/writer Michael Tebelak for his master’s thesis project, Godspell is the Jesus story based on the Gospel according to Saint Matthew, though it takes place in a modern, urban environment and has dance-craved, colorfully-dressed kids taking on the roles of the apostles. In this adaptation, Panek superbly captures the youthfulness and energy of the original with well cast roles and is also able to successfully convey meaningful messages throughout by way of parables in the midst of humorous punch lines and physical comedy.
Doubling as “John the Baptist” and “Judas Iscariot”, Jake Mahler excels in both roles thanks in part to a strong vocal performance and finessed guitar playing. While Andrew Lund was aptly cast as “Jesus” and performs the role wonderfully with heart, passion and vocal prowess, the ensemble as a whole really brings the show to life. An all-around outstanding performance by Stephanie Rohr epitomizes the essential of Godspell, blending earnest fervor with joy, bliss, eagerness and curiosity. Rohr strengthens an already strong cast, but is not the only star to shine in this production as each member in the ensemble has something to offer and does so when given the chance during their own numbers.
From the classic “Day by Day” to such songs as “O Bless the Lord” and “Save the People” the live instrumentation is every bit as impressive as the cast.
Splash Magazine
Reviewed by Noel Schecter
In their third major production, Brown Paper Box Company continues to create work that operates outside the box. Operating under the direction of M. William Panek, Brown Paper Box reinterprets well the often produced Godspell. Key to this is the play’s willingness to strip everything down to the bare bones. Whereas the most recent Broadway revival featured lavish set designs and over-the-top costumes, this production rests almost entirely on the talent of the actors. Luckily the cast here is more than up to the challenge and what could have been a clichéd and worn out production instead appears original and highly entertaining.
In my opinion the enduring success of Godspell lies in its ability to present parable after parable in a way untypical of a Sunday sermon. And while the plot does, of course, move toward the crucifixion of Jesus it is not the focus here. Rather it is the message of love and forgiveness that is central to the Gospel of Mathew. For that reason it is essential that the role of Jesus is cast just right; you want someone capable of preaching, but not someone who comes off as too preachy. Andrew Lund is just that person as he does a wonderful job of conveying wisdom and compassion in a natural and unforced manner. Also standing out in this production are Veronica Garza, who delivered an amazing rendition of Day by Day, Jake Mahler (who has just the right amount of intensity as John the Baptist and then later convincingly slithers away as Judas), and Jeanne T. Arrigo whose voice and guitar play anchor a very well put together play. Really though, there is not a miscast person in the lot and everyone present does well to distinguish themselves with guitars, banjos, ukuleles and keyboards. They also effortlessly harmonized together and made familiar songs fresh and poignant.
Although sparsely stage set (M. William Panek is also credited with set design), the performance does display many creative touches. The characters, when not directly engaged, typically text or type away on iPhones and MacBooks (midway through I wondered if perhaps Apple paid for product placement, if so all the power to you Brown Paper Box). Beyond keeping the material fresh, it also served as a logical way of showing characters often disconnected with the events on stage. Other props include basic chairs, a few cheaply made bookcases, a lot of typing paper, and a long fold up table that left me a little nervous each time it was used as a makeshift stage. Lighting was used for maximum effect.
Altogether Godspell made for an excellent night of entertainment. I have never actually been to Sunday school (and no more than once to church). This performance of Godspell made me a little jealous of those more familiar with the source material.
Bottom line: Godspell is highly recommended for its wonderful, intimate, and talented take on an old standby.
In my opinion the enduring success of Godspell lies in its ability to present parable after parable in a way untypical of a Sunday sermon. And while the plot does, of course, move toward the crucifixion of Jesus it is not the focus here. Rather it is the message of love and forgiveness that is central to the Gospel of Mathew. For that reason it is essential that the role of Jesus is cast just right; you want someone capable of preaching, but not someone who comes off as too preachy. Andrew Lund is just that person as he does a wonderful job of conveying wisdom and compassion in a natural and unforced manner. Also standing out in this production are Veronica Garza, who delivered an amazing rendition of Day by Day, Jake Mahler (who has just the right amount of intensity as John the Baptist and then later convincingly slithers away as Judas), and Jeanne T. Arrigo whose voice and guitar play anchor a very well put together play. Really though, there is not a miscast person in the lot and everyone present does well to distinguish themselves with guitars, banjos, ukuleles and keyboards. They also effortlessly harmonized together and made familiar songs fresh and poignant.
Although sparsely stage set (M. William Panek is also credited with set design), the performance does display many creative touches. The characters, when not directly engaged, typically text or type away on iPhones and MacBooks (midway through I wondered if perhaps Apple paid for product placement, if so all the power to you Brown Paper Box). Beyond keeping the material fresh, it also served as a logical way of showing characters often disconnected with the events on stage. Other props include basic chairs, a few cheaply made bookcases, a lot of typing paper, and a long fold up table that left me a little nervous each time it was used as a makeshift stage. Lighting was used for maximum effect.
Altogether Godspell made for an excellent night of entertainment. I have never actually been to Sunday school (and no more than once to church). This performance of Godspell made me a little jealous of those more familiar with the source material.
Bottom line: Godspell is highly recommended for its wonderful, intimate, and talented take on an old standby.
Chicago Theatre Beat
Reviewed by J.H. Palmer
The last thing you might expect to see in uber-hip Wicker Park is a revival of the 1971 musical Godspell, but there it is – on the third floor of the Flat Iron Arts Building at the six cornered intersection of Damen, North, and Milwaukee, for all the world to see (shouldthey manage to make their way up all those stairs). While the basic premise remains the same – a group of young people discuss biblical subjects based on the Gospel According to Matthew, and break into song seemingly at the drop of a hat, a few things have been updated: Babble is represented by an attachment to electronic objects, indeed – this is the only theatrical piece I’ve seen where the characters seem to get lost in their iPhones, iPads, and laptops as the action unfolds around them.
In Brown Paper Box Co’s hands, the piece feels like a summer camp frolic – or maybe more accurately, a bible camp frolic, only hipper. It begins quietly, with dialogue, but picks up quickly enough with the opening number: “Prepare Ye the Way of the Lord”. What’s remarkable about Godspell is how entrenched the music has become in our common musical theater knowledge; even someone who’s never seen it will likely recognize the opening strains of “Day by Day”, or the haunting, mournful tones of “By My Side”. It is a collaborative event, and the cast all has good singing voices, but there are definite standouts: Veronica Garza comes to mind, as well as Nick Shoda (the actors all go by their real names in the billing.)
The audience sits on three sides of the stage, some of it on floor level, giving the experience a casual feel that invites itself to something that comes close to audience participation; in one number Stephanie Rohr directed her attention to a patron in the first row who had risen to leave the theater (presumably to use the restroom as he came right back in), gesturing towards him as if trying to convince him to stay, and there were other moments of up-close contact as the cast uses the aisle space between the seats as part of their domain.
The staging is basic but effective, with the entirety of the stage being used at various points in the show, and while at times it feels a bit low-tech, the vocals and feel-good vibe create a sense that this should be a somewhat unplugged experience. Do be prepared for a Spartan encounter; there are no intermission refreshments at this show, and as far as I could see this is not a handicap accessible building, so if you’re bringing grandma consider how long it takes her to climb stairs. Brown Paper Box’s version of the musical is unpolished as far as production values, but not a bad way to see (and hear) some of the most memorable songs in American musical theater. Fans of Godspell in particular will enjoy this piece.
Rating: ★★★
In Brown Paper Box Co’s hands, the piece feels like a summer camp frolic – or maybe more accurately, a bible camp frolic, only hipper. It begins quietly, with dialogue, but picks up quickly enough with the opening number: “Prepare Ye the Way of the Lord”. What’s remarkable about Godspell is how entrenched the music has become in our common musical theater knowledge; even someone who’s never seen it will likely recognize the opening strains of “Day by Day”, or the haunting, mournful tones of “By My Side”. It is a collaborative event, and the cast all has good singing voices, but there are definite standouts: Veronica Garza comes to mind, as well as Nick Shoda (the actors all go by their real names in the billing.)
The audience sits on three sides of the stage, some of it on floor level, giving the experience a casual feel that invites itself to something that comes close to audience participation; in one number Stephanie Rohr directed her attention to a patron in the first row who had risen to leave the theater (presumably to use the restroom as he came right back in), gesturing towards him as if trying to convince him to stay, and there were other moments of up-close contact as the cast uses the aisle space between the seats as part of their domain.
The staging is basic but effective, with the entirety of the stage being used at various points in the show, and while at times it feels a bit low-tech, the vocals and feel-good vibe create a sense that this should be a somewhat unplugged experience. Do be prepared for a Spartan encounter; there are no intermission refreshments at this show, and as far as I could see this is not a handicap accessible building, so if you’re bringing grandma consider how long it takes her to climb stairs. Brown Paper Box’s version of the musical is unpolished as far as production values, but not a bad way to see (and hear) some of the most memorable songs in American musical theater. Fans of Godspell in particular will enjoy this piece.
Rating: ★★★
Chicagoist
Reviewed by Melody Udell
If you’re looking for a glitzy, jazz hands-infused production of Stephen Schwartz’s cult musical Godspell, look elsewhere. Brown Paper Box Company’s production is refreshingly pared down and intimate, where a ragtag, come-as-you-are group of actor-slash-musicians come to breathe a little life into a few well-known Biblical parables. Instead, the company’s show sticks to its mission to create thoughtful, accessible theater that’s less an overproduced, flashy affair and more of a grassroots production, and the result is a wholly imperfect yet endearingly heartfelt show.
Godspell opens with a group of students working on a project who come across a few Biblical texts. Director M. William Panek has taken most of his creative license in the show’s opening; characters type on laptops, gaze at iPads or text incessantly before they start zany yet charming reenactments from the gospel of Matthew. Andrew Lund is an amiable Jesus, and one of the more vocally talented members of the cast, although many of them could benefit from a microphone. Even in that small room inside the Flat Iron Arts Building—with an appropriately sparse set resembling a makeshift library—some voices lacked the power to fill the room. And despite the absence of percussion, the ensemble works hard to keep the energy up—helped in large part by Schwartz’s terminally engaging score.
Panek has stripped the show of any of the ancillary elements found in the recent Broadway revival, helmed by Weeds star Hunter Parrish—you’ll find no vaudeville numbers or polished choreography. For a show that’s widely considered a rock musical, this production of Godspell is met by simple accompaniments on the guitar or piano. Jake Mahler, playing the dual role of John the Baptist and Judas, is a definite stand-out among a wholly talented cast. The charismatic Veronica Garza sings an impressive rendition of the musical’s best-known song, "Day by Day," and Michelle Limon’s "O Bless the Lord" is full of welcome momentum.
This production certainly isn’t for everyone, but with its relatable, charming cast and a production that doesn’t take itself too seriously, Godspell entertains as well as some big-box productions currently on stage.
Godspell opens with a group of students working on a project who come across a few Biblical texts. Director M. William Panek has taken most of his creative license in the show’s opening; characters type on laptops, gaze at iPads or text incessantly before they start zany yet charming reenactments from the gospel of Matthew. Andrew Lund is an amiable Jesus, and one of the more vocally talented members of the cast, although many of them could benefit from a microphone. Even in that small room inside the Flat Iron Arts Building—with an appropriately sparse set resembling a makeshift library—some voices lacked the power to fill the room. And despite the absence of percussion, the ensemble works hard to keep the energy up—helped in large part by Schwartz’s terminally engaging score.
Panek has stripped the show of any of the ancillary elements found in the recent Broadway revival, helmed by Weeds star Hunter Parrish—you’ll find no vaudeville numbers or polished choreography. For a show that’s widely considered a rock musical, this production of Godspell is met by simple accompaniments on the guitar or piano. Jake Mahler, playing the dual role of John the Baptist and Judas, is a definite stand-out among a wholly talented cast. The charismatic Veronica Garza sings an impressive rendition of the musical’s best-known song, "Day by Day," and Michelle Limon’s "O Bless the Lord" is full of welcome momentum.
This production certainly isn’t for everyone, but with its relatable, charming cast and a production that doesn’t take itself too seriously, Godspell entertains as well as some big-box productions currently on stage.
Chicago Reader
Reviewed by Laura Molzahn
Amazingly, Brown Paper Box Company's low-budget chamber production almost rescues this 42-year-old hippie relic, a song-and-dance version of the gospel parables and that jaunty little tale we call the Crucifixion. Musical director Katie Colby has expertly coached her ten talented actor-singers, who double as musicians. And director M. William Panek wisely steers clear of period shtick: the cast wear vernacular clothes, circa 2012, and give a modern improvisatory spin to their mannerisms and intonations. John-Michael Tebelak's dialogue is way too cute, and his preaching to the choir isn't easy to take even for a churchgoing Christian. But Stephen Schwartz's music remains stirring if you don't listen to the lyrics.
