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Anton Juan makes theater like church in ‘Godspell’
Director Anton Juan—known for his magical images onstage, relentless socio-historical contextualization, and choreographies that narrate in silence—has made theater a pulpit for Christ with contemporary music, comic relief, games, and media-oriented storytelling in "Godspell."
His production of the 45-year-old musical opened at the RCBC Plaza on Ayala Avenue, Makati City on June 17.
Created by composer Stephen Schwartz and playwright John Michael Tebelak, "Godspell" is a pop take on the life and teachings of Jesus and was first performed in 1971. It was then about "love, not war"—a mantra waged mostly by hippies and a counter-culture movement against the Vietnam war.
Forty-five years after the original production, the musical's lessons about love, forgiveness, and nurturing remain relevant in an era of more wars and globalization's failure to erasing the great divide between superpowers and developing nations.
The set of Juan’s "Godspell" is a wasteland littered with cans, newspapers, and scaffolding. “It is in the city’s intestines where it is full of garbage,” said the director, but added that the musical is not about class struggle but about God and man's alienation.
Act One is essayed with alternate dramatic and rational narratives, a Brechtian approach: When Jesus asks questions and challenges the others to interact and dig deep into God’s words, he gets hit-and-miss responses, comical illustrations, entertaining games, and arguments.
When he asks, “What is a seed?”, someone answers, “A baby.” After looking at the back of somebody's shoes, Jesus says, “Rejoice,” then is corrected by the owner: “Reebok.” Do charity in secret, says Jesus. But others repeat the word “secret” in loud whispers.
When Christ advises people not to be anxious about clothes and food, someone retorts with “body language”. Giving your coat to the one you want to walk miles with is taught with Pictionary.
Indeed, the blasphemy of the secular can make an audience laugh and a Bible Study teacher curse.
The comedy of "Godspell" digs deep into the heart of ancient belief. In this musical, if Christ’s words are misinterpreted by puns, triggered by realities of the secular and the modern world, the tension between the divine and the ordinary all the more underlines Christ’s patience in making himself understood.
Also, the blasphemy of the secular (of everyman) is erased by the spirituality of the songs, the titles of which are self-explanatory: "Prepare Ye the Way of the Lord" (Matthew 3:3), "Save the People," "Day by Day," "Learn Your Lessons Well," "O Bless the Lord" (Psalm 103), "All for the Best," "All Good Gifts," "Beautiful City," "Light of the World" (Matthew 5:13-16), "Turn Back, O Man," "Alas For You" (Matthew 23: 13-37), "By My Side," and "We Beseech Thee," and "On The Willows" (Psalm 137). While the vocal style of the original "Godspell" was 70s pop, the Manila production’s music director, Ejay Yatco, has rearranged some of the music with a touch of hip hop, rap, and R&B.
In Act Two, "Godspell" is less Brechtian, less didactic, and more dramatic, requiring a stronger suspension of disbelief (it’s real, no longer just theater) as it depicts Jesus’ crucifixion. He instructs his disciples and interacts with Judas and his prosecutors. His killers—Jesus describes them in “Alas, for You” as lawyers, Pharisees, snakes—are, onstage, also war-mongering soldiers: the modern day antichrist on top of a tank made of carton and plastic cups. “The story of God is the story of the world and the devil, too,” said Juan.
Jesus wails and weeps his last words: “Oh God, I’m bleeding. I’m dying. I’m dead. The spirit is willing, the flesh is weak. Thy will be done.” They depict equal divinity and humanity. After the crucifixion (and his divinity perfected, his mission done), the stage and the walls of the theater are studded with images of stained glass.
Juan said that working on "Godspell" had an effect on the cast and on him. “They developed an ensemble spirit. They became close to one another,” he said of the actors. As for himself, “I became more reflective. I prayed every day before rehearsals.”
Juan decided not to use the clown make-up "Godspell" productions typically use for Jesus and his followers. “When I decided not to use clown make-up for Christ, I asked the Holy Spirit, ‘This is your play, help me out.’ The next day, I got an answer: newspapers,” he said. The newspaper imagery also serves as a pun on the Bible being "the good news" versus the bad news in the newspapers.
Even if there is no dramatic resurrection, no rising from the dead in this musical production, composer Schwartz once explained: “'Godspell' is about the formation of a community which carries on Jesus’ teachings after he is gone. It is the effect Jesus has on the others whether or not he himself is resurrected.”
Hopefully it will not disappoint those who want miracles and revealed secrets of the kingdom about healing, casting out demons, speaking in tongues, and prophecies. For Juan, the rediscovering one’s belief, one’s journey to Biblical truth, is what is important. “Forgetting is the will of the indifferent,” he said.
The cast includes Jef Flores, who plays Jesus Christ; OJ Mariano, as Judas and John the Baptist; and theater vets Poppert Bernadas, Caisa Borromeo, Red Concepcion, Maronne Cruz, Topper Fabregas, Rhenz Gabalonzo, Gab Pangilinan, Abi Sulit, Shiela Valderrama-Martinez, and Stephen Viñas. — BM, GMA News
"Godspell" is performed from June 17-19 and June 24-26 at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati City. Tickets are available at all Ticketworld (891-9999), SM Tickets (472-2222) and at MusicArtes (895-8098, 5193603 or musicartes.manila@gmail.com).
