Reviews

THEATRE

Multimedia Messiah is a thought-provoker

Godspell, touring

Godspell, the show originally created in the early 1970s to "bring religion to the masses", returns with a new gloss on the old, old story.

This ensemble piece is blessed with an exceptionally talented cast, including Adam Boland (a mean breakdancer with great comic timing), Christopher Duncan (his worshipful performance of All Good Gifts is a highlight), Claire Sundin (making an assured professional stage debut), and Daniel Thomas (a soaring voice as befits a former director for London Community Gospel Choir).

In the opening number (Tower of Babble), the meaning of life is explored in text messages, e-mails, and widescreen format. But special effects can only do so much, and it is left to Daniel MacPherson and Jonathan Wilkes to take on the unenviable task of alternating the Jesus/Judas roles.

Does it work? I can’t really say. The cunning marketing ploy means that audiences have to see it twice in order to make a fair judgement, but I reckon it’s a tall order.

Jonathan as Jesus certainly held the audience’s attention, whether in the quick-fire routines of the first act or reflective authority that is the hallmark of the second. But all of the company should take note that clear diction is the first casualty of fast moving dialogue – the pace of the show shouldn’t equate with unintelligible projection, even more so when "miked" up to the hilt.

Daniel clearly had more of a torrid time in his efforts to chart Judas’ spiralling fall from grace. More at ease in the lighter moments, Daniel nevertheless worked hard to trace disenchantment with the style of Jesus’ mission and ultimate rebellion against it.

The Last Supper was movingly depicted, but be prepared for the "let's just stick together and everything will be all right" ending which sees Jesus dying on the cross and his followers thrown into despair until they decide on touchy feely discipleship.

In the most recent Godspell revival at Chichester, a resurrected Jesus was seen encouraging those left behind. I hope this is reinstated.

Otherwise, a great night which prompted lots of post-performance questions and discussions – and that can’t be a bad thing.

Gospel in the raw

The Mysteries, Queen’s Theatre, London

It's no wonder that this production has seen its West End run extended by six weeks. In these dark times, the most hard-bitten of theatre critics have run out of superlatives to describe this "pure and inspiring piece of entertainment" and standing ovations have become the "norm".

Based on the Chester Mystery Plays, this South African production is performed in four of the country’s 11 "official" languages – Afrikaans, English, Xhosa and Zulu. To be honest, this can be confusing at times. To have someone ask a question in the best King James’ and be answered in Afrikaans takes some getting used to.

But the power, the passion, the radiant faith, the natural rhythms of the dance, and the layers of vocal strength and harmony carry the theatre-goer along on a wave of audience-participation and humour.

More than 1,500 people from all over South Africa auditioned for the production, and the 40-strong cast comes from every social background and community.
This cultural mix represents a new era in the post-apartheid Rainbow Nation – it also blows fresh air through jaded hearts and cynical churchmanship.

This is the Gospel in the raw, a raucous celebration of what it means to know a living God. It is almost churlish to mention any individual cast members by name but Pauline Malefane (Virgin Mary), Andries Mbali (Lucifer), and Sibusiso "Otto" Ziqubu (Noah/Annas) were outstanding.

And then there was Vumile Nomanyama as God/Jesus. What can I say? There's poise, dignity, seemingly effortless stage presence, and a smile that could save the Queen’s Theatre a small fortune in electricity bills.

Book NOW!

Karen Carter is news editor of Christian Herald

© Christian Family Network
is run by CPO, supported by
Care for the Family, Marriage Resource, Positive Parenting,
Care, Women Alive, Christian Herald and many others.


		THEATRE Multimedia Messiah is a thought-provoker Godspell, touring Godspell, the show originally created in the early 1970s to "bring religion to the masses", returns with a new gloss on the old, old story. This ensemble piece is blessed with an exceptionally talented cast, including Adam Boland (a mean breakdancer with great comic timing), Christopher Duncan (his worshipful performance of All Good Gifts is a highlight), Claire Sundin (making an assured professional stage debut), and Daniel Thomas (a soaring voice as befits a former director for London Community Gospel Choir). In the opening number (Tower of Babble), the meaning of life is explored in text messages, e-mails, and widescreen format. But special effects can only do so much, and it is left to Daniel MacPherson and Jonathan Wilkes to take on the unenviable task of alternating the Jesus/Judas roles. Does it work? I can’t really say. The cunning marketing ploy means that audiences have to see it twice in order to make a fair judgement, but I reckon it’s a tall order. Jonathan as Jesus certainly held the audience’s attention, whether in the quick-fire routines of the first act or reflective authority that is the hallmark of the second. But all of the company should take note that clear diction is the first casualty of fast moving dialogue – the pace of the show shouldn’t equate with unintelligible projection, even more so when "miked" up to the hilt. Daniel clearly had more of a torrid time in his efforts to chart Judas’ spiralling fall from grace. More at ease in the lighter moments, Daniel nevertheless worked hard to trace disenchantment with the style of Jesus’ mission and ultimate rebellion against it. The Last Supper was movingly depicted, but be prepared for the "let's just stick together and everything will be all right" ending which sees Jesus dying on the cross and his followers thrown into despair until they decide on touchy feely discipleship. In the most recent Godspell revival at Chichester, a resurrected Jesus was seen encouraging those left behind. I hope this is reinstated. Otherwise, a great night which prompted lots of post-performance questions and discussions – and that can’t be a bad thing. Gospel in the raw The Mysteries, Queen’s Theatre, London It's no wonder that this production has seen its West End run extended by six weeks. In these dark times, the most hard-bitten of theatre critics have run out of superlatives to describe this "pure and inspiring piece of entertainment" and standing ovations have become the "norm". Based on the Chester Mystery Plays, this South African production is performed in four of the country’s 11 "official" languages – Afrikaans, English, Xhosa and Zulu. To be honest, this can be confusing at times. To have someone ask a question in the best King James’ and be answered in Afrikaans takes some getting used to. But the power, the passion, the radiant faith, the natural rhythms of the dance, and the layers of vocal strength and harmony carry the theatre-goer along on a wave of audience-participation and humour. More than 1,500 people from all over South Africa auditioned for the production, and the 40-strong cast comes from every social background and community. This cultural mix represents a new era in the post-apartheid Rainbow Nation – it also blows fresh air through jaded hearts and cynical churchmanship. This is the Gospel in the raw, a raucous celebration of what it means to know a living God. It is almost churlish to mention any individual cast members by name but Pauline Malefane (Virgin Mary), Andries Mbali (Lucifer), and Sibusiso "Otto" Ziqubu (Noah/Annas) were outstanding. And then there was Vumile Nomanyama as God/Jesus. What can I say? There's poise, dignity, seemingly effortless stage presence, and a smile that could save the Queen’s Theatre a small fortune in electricity bills. Book NOW! Karen Carter is news editor of Christian Herald © Christian Family Network is run by CPO, supported by Care for the Family, Marriage Resource, Positive Parenting, Care, Women Alive, Christian Herald and many others.