Displaying items by tag: Tafadzwa Diener

There’s an old adage that says something along the lines of “don’t judge a book by its cover.” The same wisdom can most certainly be applied to playbills. More often than not the title of a musical describes exactly what the theatre piece will be about; Hamilton is about Alexander Hamilton, Annie is about an orphan girl named Annie, Wicked is about, you guessed it, a wicked witch. Following this same logic you think I’d have known what Godspell would be about prior to seeing the show. But I, ironically, judged incorrectly and found myself judged. Having heard the name in musical theatre circles and knowing it was a Broadway darling for years, I was genuinely surprised to find that Godspell was not some spooky musical about casting spells or witchcraft and wizardry but a musical based upon the gospel according to St. Matthew. Boy did I judge that book by its cover.

Godspell is a musical based on the Gospel of Matthew, which tells the story of Jesus through a modern-day group of non-Biblical characters symbolizing his "disciples" who enact his parables through song, dance, and comedy. This production of Godspell finds a fractured and disconnected community gathered at a local coffee shop discovering the transformative power of forgiveness and embracing radical love.

Like any theatrical experience patrons must have a willing suspension of disbelief. There is a burden to check all preconceived biases at the door and allow themselves to be immersed into another world for a few short hours. That’s where the magic of theatre resides, with oneself. For the first act of Godspell, I regrettably did not suspend my disbelief. I found myself resistant to the words, given they were word for word from the Gospel of Matthew. Bearing in mind I had not researched the play nor even studied the synopsis, merely checking off the show from my musical theatre bucket list, I went into the theatre not knowing anything about this play. Two songs in and I found myself not in a cushioned theatre seat but in a hardbacked pew, wondering how everyone around me was smiling and laughing while I sat questioning what was going on and pointing out hypocrisies and double-standards. Godspell is nearly word-for-word the gospels and include infectious pop and rock songs like “Day by Day,” “Prepare Ye the Way of the Lord,” “O Bless the Lord My Soul” that one might hear in any new age church. I felt myself rejecting the play, the words that were being said, the songs that were being sung, even wondering how so many people in the audience knew the play word-for-word, bar-for-bar. Surely this is just propaganda? Surely this is some kind of joke. But then it hit me. I’m being critical in the worst way. I’m judging this book by its cover. I allowed my preconceived biases to blind me of the possibility of a great show. I quickly cast away my disbelief.

Godspell was phenomenal. Debuting in 1970 with music and lyrics by Stephen Schwartz, the musical has been a consistent success, even becoming a major motion picture staring Victor Garber as Jesus. Music Theater Works’ version, directed by Matthew Silar, choreographed by Amanda Hope and music directed by Justin Kono, modernizes the play in a way that is not pandering or patronizing. Rather it weaves the play’s central theme and message with real people, quick witted humor, exceptional improv, and genuine love and care. While the context of the play can be preachy and heavy handed, as the Bible tends to be, this production is surprisingly light thanks to local Chicago talent like Jacob Simon as John the Baptist, Tafadzwa Diener, Dani Pike, and Ben Woods as the café community members. The intentional care and lightness the cast bring to their performances make you forget you’re listening to preachy gospel. You’re not being preached to, rather, you’re following skeptical and reluctant patrons find meaning in the words spoken at the open mic night by Jesus himself, exceptionally played by Eldon Warner-Soriano, and experiencing the lessons through clever and well-timed improv. Coupled with the talented cast, Silar’s version of Godspell strips away the heavy handedness, allowing the cast of characters to be their goofy-sometimes-awkward-yet-no-less-hilarious selves while still delivering impactful messages about loving your neighbor and forgiving others as you would want to be forgiven. It’s clear the cast and crew checked any preconceived biases at the door when staging this musical. Were one to have no prior knowledge of the Bible, the gospels, or religion itself, they’d find themselves immersed in a world of good words and teachings of love and acceptance one could find in dozens of books from Harry Potter to The Song of Achilles.

In today’s political and cultural climate, Godspell is a risky choice to put on. It was easy to allow that thin magical line between the real world and theatre to blur. It was easy to bring the real world with me when I ventured into the theatre. It was even easier to be stubborn and reject something simply because I don’t like how some people interpret, use, or weaponize the gospels. Personally, I think those very same people would do well to suspend their biases and see Godspell and be reminded about the true meaning and purpose of the very book they preach about. That being said, I think putting on Godspell in today’s political and cultural climate is not only important, it’s essential. The content of the play and Silar’s beautiful production will no doubt being necessary dialogue and spark conversation and ask audience members to reflect on the play vs. their defined ideals. Godspell is just a story of a man, told through the eyes of another man, and performed by exceptionally talented individuals. Or is it something more? Was this play preachy or did it have some real-life lessons and messages to take away? Do I reject the play or do I reject how others interpret the context behind the play? Am I being critical or skeptical? Hypocritical even? Hell, soon we’ll all be flocking to theatres to see a cinematic production about a wicked witch and will probably have very little issue suspending our disbelief as we watch a witch flying on a magical broomstick with her army of flying monkeys. So I implore everyone to keep that same energy when viewing this production of Godspell. At the end of the day, it’s just a show, and gods know we can all use a bit more magic in our lives, even if it limited to the theatre.

Godspell is presented by Music Theater Works and is sponsored by the Whirled Peas Foundation and presented in partnership with Curt’s Café. It is playing now through November 16^th at The North Shore Center for the Performing Arts in Skokie (9501 Skokie Blvd, Skokie). Tickets are now on sale from $19.50 to $106 with tickets for guests 25 years old and younger available at half-price at MusicTheaterWorks.com or by calling the Music Theater Works box office at the North Shore Center, 847.673.6300.

To those familiar with Cole Porter’s 1930s musical, you may recognize the opening notes as the live orchestra begins to play the title number. Reno Sweeney (played with dazzle by Meghan Murphy) bounds on stage, and the Opening Night crowd erupts in cheers. Sweeney takes in the applause and adoration as she starts to sing:

“Times have changed
And we’ve often rewound the clock.
Since the puritans got a shock.
When they landed on Plymouth Rock.”

As Murphy’s belt swells and rings through the theater, this audience only cheered harder. This is the 11 o’clock number, and the artistic team does not disappoint. As the ensemble joins Murphy on stage, Choreographer Tammy Mader pulls all the stops. Tappers, ballroom dance, and everything in between. Lighting Designer G. “Max” Maxin IV fills the space with color that is only heightened by the exquisite costume design full of sparkle. Looking around at the audience, it was clear that I was not the only one bouncing along in my seat. Before Murphy even hits the final lyrics, the crowd was on their feet, eager to reward this show-stopping number with everything that they had.

Directed by Michael Weber, Anything Goes follows Billy Crocker (Luke Nowakowski), a man hopelessly in love with Hope Harcourt (Emma Ogea). The one problem? She is engaged to Lord Evelyn Oakleigh (Jackson Evans), and her mother is eager to see that this wedding takes place. Billy sets out as a stowaway onboard the ocean liner S.S. American – desperate to win the love of his life. Ultimately, if he wants to succeed, he finds that his only hope is to trust his alliances with nightclub singer Reno Sweeney (Meghan Murphy) and two wanted criminals - Moonface Martin (Steve McDonagh) and Erma (Tafadzwa Diener).

With music and lyrics by Cole Porter, the score features famous hits including: It’s De-Lovely, Friendship, and of course, Anything Goes. Full of love triangles, mistaken identities, and missed opportunities, you might just find yourself on the edge of your seat – eager to see what twist or turn might come next.

The die-hard fans of the classic musical know Cole Porter hits audiences with one larger-than-life number after another. Weber and his team fill the small stage to the brim with impressive designs and jaw-dropping choreography. Especially when combined with the stellar vocalists, those numbers ranging from You’re the Top to Blow, Gabriel, Blow certainly stand out. However, if you’re anything like this writer, you might also find that the intimate, smaller numbers truly hit the heart of the show.

It’s De-Lovely comes towards the end of Act I. Hope is discouraged, knowing deep down that she loves Billy, but her mother will never let her end the engagement. Alone on the ship deck, Billy finds her, and the two begin to sway and sing.

“The night is young, the skies are clear
So if you want to go walking, dear,
It's delightful, it's delicious, it's de-lovely.”

The lights dim to a deep blue, creating the feel of moonlight. As the song continues, the two become lost in each other, and start to dance. Other couples join and dance alongside them, but for Billy and Hope, it’s clear that the world only exists between the two of them. To put it simply, Ogea and Nowakowski enchant the Opening Night audience with their sweet duet. As the ending note plays and Billy dips Hope in a final pose, an audible sigh could be heard from the crowd. 

Inspiring vocalists and a jaunty score make Anything Goes a night of fun. If you’re a classical musical fan, then this is the show for you. If you have yet to experience a production of Cole Porter’s classic, Porchlight Music Theatre certainly offers an exciting introduction as we hit the show’s 90^th anniversary.

RECOMMENDED

Running through February 25, 2024 at Ruth Page Center for the Arts – 1016 N. Dearborn St. 773-777-9884

*Extended through March 10th!