Beginning in 1971, the original production of Godspell ran for more than six years in New York, and long before it closed there were satellite companies performing the religious pop/rock show around the U.S. and throughout the world. In a sense, the musical never stopped running, since it continued to be performed regularly by professional and amateur companies in the ensuing decades. This 30th anniversary recording is unusual in that national touring companies are not typically graced with their own cast albums, but it gives a good idea of current interpretations of what is now a venerable show. Composer
Stephen Schwartz gives his blessing in a sleeve note, which must mean that he is willing to accept responsibility for this updated version, though it is inferior to previous ones. The original score was written and arranged in a contemporary pop style, circa 1971, which meant that the ballads were reminiscent of the work of James Taylor and
Carole King, and the up-tempo numbers rocked lightly, though the songs were carried by catchy melodies. Clearly, it was felt that the score needed to be updated, and musical director Alex Lacamoire has contributed what are called new orchestrations (though there's no orchestra, just a rock band) and arrangements. Lacamoire must have thought that Godspell didn't rock hard enough, since he has taken several of the songs into heavy metal territory, with wailing guitar solos. And he's not above borrowing from other rock operas -- "Prepare Ye" is now distinctly similar to "Pinball Wizard" from Tommy. The score's variety has been reduced by reinterpreting "Turn Back, O Man," previously a jazzy 1920s-style number, as a funk-rock stomp. But Schwartz himself must bear the blame for the worst change in the score. He has added a new, two-part introduction to the show, an "Opening" in which Jesus makes various pompous statements, followed by "Tower of Babble," a rap/trip-hop production that sounds nothing like the rest of the score (even with its new arrangements) and is unnecessarily off-putting. The cast, led by Joe Carney and Michael Yuen, seems to have been directed to over-emote consistent with the overdone arrangements, such that the melodies, the score's strongest suit, are less distinct. Thankfully, one can still hear the original soundtrack album and the original off-off-Broadway cast album, both of which are much better representations of this show on record. ~ William Ruhlmann