Tuesday, February 23, 1999
Curtain calls
"Godspell"
Through April 25
Excalibur Theater
Studio City
Tickets: $20-$25 with student discounts
(818) 980-2994
No contemporary urban rock opera cast is complete without the
mumbling bag lady, the pregnant co-dependent, the stuttering
epileptic and the misunderstood skinhead. Oh, and let’s not forget
the singing drag queen prostitute.
Stephen Schwartz’s "Godspell" is an uplifting musical that
reflects contemporary man’s struggle to live a righteous life in
the asphalt jungle of downtown Los Angeles. Set against the
grafittied backdrop of a chain link fence, Gary Lamb and William
Reilly’s modern adaptation of the hippie production originally
imbued with religious doctrine takes on more universal themes of
love and compassion.
The prophet figure played by Rodney Hicks (of "Rent" fame)
enters a world of immoral misfits and is determined to reform the
band of delinquents into God-fearing disciples. This new adaptation
of a musical originally inspired by the Book of Matthew parallels
the Bible but also appeals to general audiences unfamiliar with
Sunday school. The production not only spreads faith in the divine,
but also instills hope in humanity as the cast of social deviants
undergoes radical transformations to discover its own personal
Eden.
The nameless characters manifest the universal struggle to
reconcile the idealistic teachings of the Messiah with the harsh
reality of life on the streets. In the real world, sometimes the
word of the prophet must be disregarded for the greater profit.
Hicks leads a strong cast of 12 with his unbridled enthusiasm.
His passion drives his zealous character though exhausting trials
and often life-threatening conflicts. Will Bowers as the
flamboyant, high heel wearing drag queen and Curt Bonnen as the
despondent and ultimately loyal stutterer also give exceptional
performances.
The intimacy of the theater helps to create a close connection
between the company and the audience. But the desolate tone of the
play is set even before the musical begins, as the actors take the
stage early to set the mood for the upcoming scenes. The chaos of
the sets and the opening numbers appropriately mirror the chaotic
nature of life on the streets. But eventually, the disorder and
confusion are ultimately resolved through a series of role-playing
scenes and songs.
Combining popular rock with gospel themes, Schwartz creates both
catchy and inspirational songs that provide thought-provoking
entertainment. The clear crowd-pleaser, however, emerged in the
midst of the rock-driven songs. Modeled in the form of a classic
ragtime song and dance number, "All For the Best" transforms Hicks
and Luke Darnell into a light-hearted duo in almost top hat and
tails, providing relief from the heavy, soul-searching songs.
Lamb and Reilly’s modern adaptation of "Godspell" proves that
the search for self-identity and the struggle for salvation are
universal themes, still relevant and genuine in the ’90s.
Emilia Hwang
Rating: 7
"When I Was a Girl, I Used To Scream and Shout"
Through March 28
Odyssey Theatre Ensemble
Santa Monica
Tickets: $18.50-$21.50
(310) 477-2055
Childhood curiosity about sex, an absent father, a moody mother
and teenage pregnancy are all issues that Sharman MacDonald tackles
in "When I Was a Girl I Used to Scream and Shout," a gripping
portrayal of a mother-daughter relationship set in Scotland between
1966 and 1983.
Directed by Elina de Santos and with a small cast of four, the
play introduces Fiona (Rachel Singer), who as a young girl in 1966,
is abandoned by her father and faces the possible remarriage of her
mother (Carol Kane). In order to stop the marriage, Fiona becomes
pregnant by a local boy, Ewan (Dylan Kussman); it is not until
after she has conceived, however, that Fiona regrets her actions
and desperately implores God to get rid of the baby. With her
prayers unanswered, Fiona is forced to have the child, and her
mother regretfully and resentfully stays with her instead of
leaving Scotland with the newfound lover.
The tension between mother and daughter on the beach in 1983, as
they reminisce about the past is ameliorated somewhat by the
presence of Fiona’s childhood friend, Vari (Shannon Branham). The
two recall their childhood curiosity about sex and boys, and Vari
acts largely as Fiona’s mentor and conscience in the 1966
flashbacks.
The plot is easy to follow, and the combination of endearing
drama with quirky physical comedy when the children discuss sex
makes the play move at a nice pace. All of the drama takes place in
three main settings: the beach, a bedroom and a bathroom. With a
minimalist approach to scenery, there are no major prop movements –
just character changes in age.
The actors all manage to make the time period and scenes changes
with ease, so there is never a question about which year the
characters are in. The small cast gives the play an intimate feel,
and the ensemble plays well off each other, so none of the actors
shine any brighter than his or her scene partner.
As Fiona, Singer delivers her performance in a two-piece bathing
suit, a brave move for any woman. Singer’s monologues are some of
the more comic yet poignant parts of the show, particularly in her
plea to God to terminate her pregnancy.
Cane has to age considerably as Morag – Fiona’s critical mother
– in both appearance and diction but keep the same underlying
emotions, which she does well. Her one liners and snide remarks
about her daughter’s vegetarian diet or political activism display
some of the more political aspects of the show by alluding to the
old vs. new age woman.
Branham and Kussman also deliver strong performances. Branham’s
portrayal of Vari is the main comic relief in the show with her
sexual frankness and use of physical comedy. Kussman has the
smallest role in the play, but commands a strong stage presence,
although his Scottish accent isn’t quite as developed as the others
onstage. Not focusing on his accent, however, and more on his
dramatic dialogue, Kussman is very believable as the horny yet
somehow endearing and chivalrous teenager who "wants to do
right."
"When I Was a Girl I Used to Scream and Shout" succeeds in
communicating the tension between mother and daughter as a result
of a generation gap and Fiona’s persona, which never outgrows its
teenage angst. The actors feed off each other’s energy to create
powerful moments in a small setting.
Danielle Myer
Rating: 8
Philip Sokoloff
The rock opera "Godspell" is playing at the Excalibur Theater in
Studio City.
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