“Godspell” reviewed by Julia W. Rath

**** The musical “Godspell” with its modern twist on the Book of Matthew has been around since 1971. Its purpose then was to make the Biblical story of Jesus and his disciples relatable to young people. Over fifty years later, Music Theater Works in conjunction with Curt’s Café and the Whirled Peas Foundation has recontextualized the story to take place inside a modern-day coffee shop. Based on the music and lyrics by Stephen Schwartz and the book by John Michael Tebelak, this production is notable for Amanda Hope’s choreography, Justin Kono’s music direction, and Matthew Silar’s fine directing. The cast features a fabulous array of spirited performing artists who do a great job revving up the audience with their loud and charismatic approach to the Gospel.

Eldon Warner-Soriano stars as a contemporary Jesus Christ, preaching the Word through all sorts of parables in modern English. Initially wearing a shirt made up of various patches of blue material, Warner-Soriano soon takes that off to reveal a white undershirt, presumably representing his unblemished soul. Jacob Simon, with his lovely baritone singing voice, plays both John the Baptist and Judas: What a polar combination of good and evil! Other members of the cast include: Brandon Acosta, P-Jay Adams, Diana Marilyn Alvarez, Maxwell J DeTogne, Tafadzwa Diener, Kaitlin Feeley, Emily Holland, Nicholas Ian, Jenna Makkawy, Dani Pike, Connor Ripperger, Concetta Russo, Ethan Smith, Alex Villaseñor, and Ben Woods. Many of these actors play themselves, or they morph into different characters throughout, with minor costume changes on stage marking such transitions.

While much of the show consists of Jesus’s monologues from both the Old and New Testaments, other portions feature fun and games, like charades. Then there are responses from the ensemble about Jesus’s teachings from a modern-day perspective, for example, their questioning about what it might mean to tear out one’s own eye or sever one’s own limb. But perhaps most important are all the songs. The signature pop song “Day by Day” is brilliantly sung by Kaitlin Feeley and repeated prominently by different people in the ensemble. Several other songs are hymns and gospel melodies, which include “All Good Gifts”, “Prepare Ye the Way of the Lord”, “By My Side”, and “O Bless the Lord My Soul”, which have been turned into rock songs. Then there’s perhaps my favorite: “Turn Back, O Man, Forswear Thy Foolish Ways”, a song which Schwartz transformed from a hymn into a vaudevillian number to be sung by Satan or a temptress at the top of the second act.

While I happened to like the second act somewhat more than the first, it’s in the first act where some of the more noteworthy scenes bring the narrative up to the year 2025. Verbiage has been added with today’s politics in mind and probably within the last few days. In one scene, we see a man who is terribly injured on the road, and no one seems to care. Rather than helping him out, they yell at him “Thoughts and prayers!” followed by “Papers!” Of course, it’s the good Samaritan who comes by and binds up the man’s wounds and works to heal him. In another scene, Donald Trump is hinted at when we are told the story about a man who tears down an old storehouse to build a bigger, more beautiful one as a sign of his vanity.

Bob Knuth’s scenic design is fantastic and is not unlike the real coffee shop (namely, Curt’s Café in Highland Park) except for retro touches and psychedelic effects, reminiscent of Peter Maxx. Painted on the wall behind stage right is a multicolored tree. Collage work decorates some of the remaining wall as well as the area below the gray countertop, where the baristas serve their brew and pastries. The window shades are in really cool designs if you study them closely. (One of which has a tongue and lips logo, like that of the Rolling Stones.) The floor is mostly made up in a black and white checkerboard tile pattern, and the use of the floorboards towards the end is very clever. Lighting design by Levi J. Wilkins greatly enhances the kaleidoscopic vibe, plus the strings of crisscrossed white lights over the set take on special meaning as the performance goes on.

Props design by Nga Sze Chan features various types of coffee pots and pastries, cups and glassware, and jugs of water and bottles of wine, not to mention a good deal of furniture, such as a set of mismatched chairs and wooden tables; these are constantly moved about during the performance and used in very creative ways. The story begins when patrons enjoy their drinks at these tables, but later, for example, two separate tables represent the division of property between two sons (as in the story of the prodigal son). Another example is the portrayal of the story of the Great Flood, where one of the tables is turned on its side and serves as a barrier, behind which cast members are supposed to be drowning. Of course, a long table is necessary for the depiction of the Last Supper, where Jesus sits in the middle, surrounded by his apostles. Although ensemble members play multiple characters, I still would have preferred twelve apostles being seated at the table rather than eight.

Kristen Brinati’s costume design, circa early 1970s, is perfectly appropriate for this type of show (especially in comparison to clownlike garb in previous incarnations of “Godspell”). I particularly liked the flowery outfit on Simon and all the colorful and serendipitous outfits worn by most cast members, such as the maxi skirt with a bright pink pattern (although I couldn’t figure out the significance of the vest with the 8 in front and the 7 in back). In sharp contrast, there are the Pharisees, who wear black suits and white shirts and black ties, to indicate their rigidity with respect to religious observance and conventional norms. Melanie Saso, the hair, wig, and makeup designer, helps to create just the right look for them and all the others. Finally, the coffee shop patrons wear the large headphones in the first scene presumably to hear their own music, and it was curious to see how each of them thinks their own thoughts about God and their place in the universe, that is, before everyone stands up and sings together.

The orchestra consists of music director Kono (conductor/drums), Linda Madonia (piano); Kyle Paul (guitars), and Eric von Holst (bass). While the playing is excellent, the amplification of the orchestra can be somewhat overpowering relative to the voices. For instance, the piano at the beginning overshadows a lot of the singing, so it’s hard to make out all the words. But the sound mix is fine in other spots, such as when a solo flute or cello accompanies a vocalist. Then too, when Jesus first makes his presence known to the entire group, I wasn’t sure if the feedback from the standing microphone was intentional (and supposed to get the audience’s attention) or if it was a mistake. Either way, the feedback was much too loud and unnerving, and I pushed my earplugs tighter into my ears. There was also an unevenness in certain performers’ singing voices and some minor flaws. But putting these things aside, this is a nicely executed production: from the fluid choreography and movement design to the compelling songs and music that separate scenes from each other.

While “Godspell” is a lot of fun, there is a much deeper message behind it. When you think of its title, Godspell and Gospel are very much alike: What we learn is that God can cast a spell on you, that is, if you want to believe in something good and decent beyond this earthly and materialistic realm. As we were leaving the theatre on Friday night, one audience member said to me frankly, “Now I want to go to confession.” Obviously, the show hit a nerve.

“Godspell” is playing through November 16, 2025, in the North Theatre at the North Shore Center for the Performing Arts, 9501 Skokie Blvd, in Skokie.

Tickets range from $19.50 to $106.00.
Tickets for guests 25 years old and younger are available at half-price.
Group discounts are also available for groups of 10 or more by contacting 847-920-5360.

Performance schedule:

Wednesdays at 2:00 p.m.
Fridays and Saturdays at 7:30 p.m.
Sundays at 2:00 p.m.
Additional performances on Saturdays, November 1, November 8, and November 15 at 2:00 p.m.

ASL Interpreted Performance:
Saturday, November 8 at 7:30 p.m.

Immediately following the Sunday, October. 26th and Sunday November 2nd matinees, audiences may join musical theater historian Thomas M. Shea, author of “Broadway’s Most Wanted,” for a post-show talk exploring the behind-the-scenes history of “Godspell.”

At a discussion immediately following the Sunday, November 9th at 2:00 p.m. performance, Music Theater Works will celebrate Curt’s Café and its impact on youth for more than a decade in providing workforce training, life skills, and supportive resources.

For more information or to purchase tickets, visit: https://www.musictheaterworks.com/ or call the Music Theater Works box office at the North Shore Center for the Performing Arts, 847-673-6300.

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “Godspell”