BWW REVIEWS: Keeton Theatre's GODSPELL

Its Vacation Bible School vibe aside, Godspell - the Stephen Schwartz musical from 1971 that grew from a class project at Carnegie Mellon University that most recently was revived on Broadway in 2011 - relates the parables of Jesus Christ in a sprightly, colorful way that can be entertaining and elucidating. Now onstage at The Larry Keeton Theatre, Nashville's theater home for classic musical comedies, Godspell features a winning cast led by Wesley King and Elliott Robinson under the direction of musical theater veterans Jamie London and Ginger Newman.

Godspell offers a very real challenge for even the most gifted of theater artists and its very structure (or lack thereof) presents stumbling blocks all along the way. Presented by a troupe of players who are known by their own names - they play disciples and various personages found among Christ's parables, as related in the Gospels of Matthew and Luke - dressed in outlandish costumes on a multi-purpose set that allows for liberal interpretation of the stories, the show's structure is easily adaptable to the whims of the creative team putting together a production.

While Thursday's opening night performance offered its audience much to enjoy, Act Two seemed far more solid than the show's first stanza and there is the pervasive feeling that the production has yet to completely jell. Obviously, that lack of cohesion will be overcome in subsequent performances and there remains much about this production of Godspell to command your attention.

You don't necessarily have to be a follower of Christ yourself in order to enjoy Godspell, but it certainly helps to keep the various characters portrayed onstage straight and to follow their stories. King, with a fresh-faced innocence and all-American charm, has a terrific voice that lends gravitas to his performance (especially notable is his performance of "Beautiful City") despite the lack of dramatics afforded by the staging. He seems perfectly suited to the title role in Joseph and the Amazing Technicolor Dreamcoat...here's hoping some enterprising director/producer reading this notice will take care of that in the not-too-distant future.

Robinson assays the dual roles of John the Baptist and Judas Iscariot with ease, with total focus and commitment, in the process making his performance all the more compelling and intriguing to watch. A Nashville stage veteran with a noteworthy resume to his credit, Robinson never ceases to impress. His "On the Willows," late in Act Two, is particularly moving.

The two leading players are given ample support from a six-person ensemble of Keeton Theatre veterans and newcomers. Tonya Pewitt very nearly steals the show with her flirtatious and showy second act-opening "Turn Back, O Man" and she shows off her acting talents to good measure throughout the show.

Santayana Harris comes close to stopping the show with "Learn Your Lessons Well" in Act One, during which she unleashes her impressive vocal fireworks, while Christian Redden (who we first saw on this stage as the star of Circle Players' 13, the Musical, several years ago) delivers on his youthful promise with several impressive selections from the show's score.

Another example of a young actor coming into her own, Stella London - whose lovely voice has matured over the years - shows herself to be as adept as ever, possessing enough onstage presence to gain every audience member's attention. Rachel Wilson, leading the company with the show's best-known tune ("Day by Day") makes an impressive Keeton Theatre debut, while Lisa Graham's "Bless the Lord" raises the roof with theatrical style.

• Godspell. Conceived and originally directed by John-Michael Tebelak. Music and lyrics by Stephen Schwartz. Book by John-Michael Tebelak. Directed by Jamie London and Ginger Newman. Musical direction by Ginger Newman. Choreography by Rachel Wilson and Jamie London. Produced by Larry Keeton and Jamie London. Presented at The Larry Keeton Theatre, Nashville. Through April 25. For details, go to www.thelarrykeetontheatre.org. Running time: 1 hour, 40 minutes (including 15-minute intermission).

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