Before his work in the theatre, John-Michael had considered becoming an Episcopal minister and had been attending local services where he noted both the hostility to his appearance (1970s long hair) and the lack of joy in the Easter celebrations.

The production’s use of pop tunes and hymns with contemporary settings interspersed among parables, predominantly from the Gospel of Matthew, addressed both his desire for a more vibrant spiritual response and resounded with audiences. It went on to Café la Mama in New York City in 1971 where the producers of the show approached Schwartz to write music and new lyrics in lieu of the original score derived from the ideas and compositions of the university cast.

As Schwartz recalls, “we retained the song, “By My Side” and the rest of the score was written in time for the start of rehearsal in April 1971, except for the song, “Learn Your Lessons Well” which was added during rehearsal.

The play then moved to a larger theatre in August of 1971 and ran off-Broadway until 1976 when it moved to Broadway for an additional 527 performances closing in September 1977. The original cast defined the personalities of its ensemble and the characters (with the exception of Jesus and Judas/John) were simply the first name of the actor who inhabited the role.

And although many communities have experienced long running productions, the musicals effect on the Toronto Theatre scene was significant. Supported by a local rather than touring cast, the production ran for 488 performances and provided the first major acting roles for performers such as Victor Garber (Jesus in the film version), Eugene Levy, Andrea Martin, Gilda Radner, and Martin Short.

The film version was released in 1973 to mixed reviews. In 2000, Schwartz’s son Scott mounted a revival tour with an undated score and changes to the Tower of Babel sequence. And in 2007 Paul Kerryson directed another revival in the UK drawing on new talent from various “talent reality searches.”

ABOUT THE CREATORS
John-Michael Tebelak was 22 years old when Godspell arrived in New York in 1971. He claims that his theatrical life began at the age of 9 and he never left after that moment. After directing this play as a project for his Master Thesis at Carnegie Mellon, Tebelak continued his directorial track as the play’s fortunes climbed. He co-authored the screenplay for the film adaptation and was dramaturge for the Cathedral of St. John the Divine in New York City where he wrote numerous liturgical dramas. He died of a heart attack in 1985.

Stephen Schwartz was born in New York City on March 6, 1948. He studied at the Juilliard School of Music and graduated from Carnegie Mellon University in 1968 with a B.F.A. in Drama. His circulating score and lyrics for the musical Pippin netted the producers interest for his composing hand on Godspell and at one point, Godspell, Pippin, and The Magic Show were all running on Broadway simultaneously.

He has also written the music and lyrics for The Baker’s Wife, a musical version of Studs Terkel’s Working, a one-act musical for children Captain Louie, and a children’s book, “The Perfect Peach.” He wrote lyrics for Rags, and music and lyrics for Children of Eden.

His most recent musical, Wicked, opened in the fall of 2003. His work in film includes the Disney animated features Pocahontas, for which he received two Academy Awards and a Grammy, and The Hunchback of Notre Dame. He also provided songs for DreamWorks’ The Prince of Egypt including the Academy Award-winning song “When You Believe.”

ABOUT THE PRODUCTION
The link between the universal truths that plays explore and the timeless and universal truths articulated and revealed in the parables of the Gospels attracts Artistic Director Mark Booher to this musical. And while Godspell if often described as a musical of the 70s, for Booher the subject matter is inherently contemporary – intrinsically now.

As audiences and theatre practitioners know, theatre is the “now” medium – it exists in its very moment of creation for it comes alive as its story is enacted. So too does this script.

In the telling of each parable, Jesus brings to life the immediacy of his message, the necessity of its fulfillment in the now, and its continuing value to each and every community. And while there is great joy and delight in the spontaneity of the experience and in the message that is conveyed, it is a story that must be lived, not merely described or abstractly understood. It must be enacted, repeatedly.

And most importantly, this is a story of one who cares about each individual at each moment in time with such love that it transcends the temporal. “Brick by brick” and “heart by heart” this story has the power to effect each individual by asking that we each change hearts, souls, wills, and desires if we want to know the core truths.

For the director, this is also a play about seeking an authentic community. The first act focuses on building that community and the second act on how unity leads to the great work that must be done. This story is about the rebuilding the human community into a community of true belief and about reestablishing the primary communion between God and man.

The attraction of a script based on the Gospel source is that it can grow on a “text so rich and poetic that it rises into song.” Like King David, the characters of Godspell must sing to celebrate their love of the divine and their joy. And they are not afraid to appear ridiculous or comedic in that celebration.

As Harvey Cox of Harvard Divinity School (among others) argued in his Feast of Fools, Christ the Harlequin or Christ the Clown, is divinity willing to explore the true revelation of self through comedy, through play, through what may appear foolishness to the world, to expose the humbleness and true joy of divine love. Godspell explores this celebration through a “led collaboration” – the acting ensemble is the wheel that moves and rolls because it has at its center, its core, the character of Jesus.