author: Chris Pence
Thou That Humble Themselves: Godspell at Stand Up For…Theatre
Prepare Ye The Way! Stand Up For…Theatre presents a fresh, upbeat take on the Gospel of Matthew with Godspell, a Broadway classic for the ages. Director Ed Higgins & Producer Grant Myers bring the story of Jesus to a new generation of theatregoers with a production that will have even the most doubting of Thomases dancing, laughing, & celebrating the beauty that is faith and belonging.
With music & lyrics by Stephen Schwartz & book by John-Michael Tebelak, Godspell is so much more than a passion play. The show features several of Jesus’ biblical parables, told musically by an ensemble of non-Biblical performers, led by a modern-day Jesus, looking to find community, faith, & meaning. The show culminates in the Passion of the Christ, with the solemn but enlightened ensemble now ready to spread joy & celebration through Jesus’ teachings. Originally written in 1970, Godspell hit Broadway in 1976, gaining a Tony Award nomination for Best Original Score. It still reigns supreme as a favorite for community theatres & church groups throughout the musical theatre world.
SUF…T co-owner Ed Higgins serves as director, as well as set designer & builder. SUF…T following a mission statement to promote acceptance & end bullying, and Godspell follows these ideals perfectly, as it addresses the most famous religious tales of all time, while also allowing the less-than-faithful to find their own truths in the lessons of Jesus. In homage to the original Broadway cast, Higgins sets the stage in the late 1960’s, with an emphasis on the 1969 “Miracle Mets.” The set features a performance space painted as a baseball diamond, painted by cast member Aster Vergeer, as well as a backdrop of the bright, cloudless New York skyline, as seen from NYC’s Central Park. The cast serves as much of the scenery, using minimal set pieces, stools, & props from a rainbow chest placed upstage center. In keeping with the theme, the parable of The Good Samaritan is told through the windows of the Mystery Machine, by a series of hand puppets, with performers protesting that their hands now smell like feet. During The Passion, the cast produces a large rolling platform with a wooden fence set against a starry backdrop.
Higgins embraces tenderness & unity with his direction, using fourth wall breaks, humor, & modern adlibs to bring universality to centuries-old Bible stories. Through his cast, Higgins creates in the Biblical parables of Christ a celebration of faith, love, & kinship, rather than the fire-and-brimstone castigation one might experience in Sunday services. The audience is encouraged to join in with the teachings, learning along with the ensemble. Cast members joke that their costumes haven’t been washed in over a week when Jesus asks them to hug it out in forgiveness of one another. The cast sprinkles in references to “Star Wars,” “The Muppets,” “The Three Stooges,” & tons more, bringing contemporary relevance to Matthew’s gospel. Higgins himself even makes a cameo, leaving the audience in stitches with his portrayal of another well-known figure of joyous celebration.
Godspell has faced some controversy over its many years, as it does not directly allude to the Resurrection of Christ, because the show is aimed more at Jesus’ effect on others than His resurrection. Higgins elects to embrace these ideals, while also representing the Resurrection in the closing notes of the show, with Jesus stepping out from behind the crucifixion platform wearing an open white robe over His modern clothes.
Vocal Directors Doug “Scratch” Lea & Caleb Lee help the cast to tackle Schwartz’ masterpiece tunes with aplomb. The score incorporates rock, pop, blues, jazz, & good old Broadway styling, which the cast manages brilliantly. Each cast member leads at least one number, & Higgins’ casting, coupled with Lea & Lee’s music direction, ensures that each song is performed to its highest degree.
Longtime SUF…T Choreographer Lilou Altman returns to bring authenticity & movement to the show. Minus a few exceptions, Altman’s choreography is nothing too fancy, opting for simple swaying, arm movements, & general grooving. This gives the feeling that the ensemble is experiencing the music for the first time, & is letting the spirit take them where it will. Altman outdoes herself in a few numbers, like during “All The Best,” a flashy, upbeat duet between Jesus & Judas, when Altman brings out the canes & gold sequined hats for a Fosse-style romp that felt like something out of “Chicago,” complete with soft-shoeing Jesus. Late in the second act, Altman uses a Bodhisattva-style forced perspective line during “We Beseech Thee,” showing the actors working as one to pray for attention & forgiveness from the Almighty.
Andrew Vidsa’s lighting design relies primarily on bright, warm lighting that feels like a Saturday in the park (I think it was the Fourth of July…). When events take a turn for the worse, Vida’s skillful spotlighting depicts Jesus standing in The Light of God while praying in Gethsemane, begging for another option before accepting His fate as the sacrificial lamb of God. Later, as Jesus faces trial, temptations, & ultimately crucifixion, blood red lighting serves to show the blood spilt for the sins of humanity.
Costumer Grant Myers follows the ‘60’s hippie motif, with the ensemble looking like they just came from a production of Hair. Ensemble members wear various symbols of peace & love on their cheeks, & are covered in smiley face stickers, which they share with the audience during “Day By Day,” welcoming the audience into the tribe. For Jesus, Myers adopts a rainbow motif, with rainbow swim trunks, as well as an open rainbow baseball jersey, underneath which He wears the show’s signature Superman logo. Myers chooses not to use the traditional Superman logo, however, instead using a silver logo, showing the purity of Jesus’ heart while giving Him more color. As the most troubled member of the troupe, Judas wears a baseball uniform also, though he wears a ringmaster’s jacket over it, with tassels & sequined stars. Judas’ mismatched costuming keys the audience into his personal conflict with Jesus & his faith, offering subtle foreshadowing of Judas’ ultimate decision to betray Jesus in the second act.
Performing as the man of the hour, Johnny Drew gives Jesus a youthful, Son of Man quality unseen in many depictions of the Christian Messiah. He presents as a de facto leader & teacher, rather than a commanding cleric. During “Bless The Lord,” Drew breaks out his signature Heely’s, rolling around the set as the cast rejoices playfully. Drew’s lively movement through that praiseful cast created a special moment, physically illustrating Jesus’ spirit flowing through the ensemble. No stranger to comedy, Drew trades jokes with Vytas Vergeer’s Judas during the vaudevillian “All The Best.” One couldn’t help but hope they were going to launch into “Puttin’ On The Ritz” next. Drew’s humanistic portrayal of Jesus heightens the drama during the second act. A particular moment of poignance comes as Jesus wipes the symbols off the ensemble’s cheeks just before The Last Supper, revealing that one of them was to betray Him. Drew delivers the traditional Hebrew blessing with a reverence befitting Christ himself. When Jesus is praying in Gethsemane, Drew’s emotional response is earth shattering. Johnny Drew gives the audience pause to remember that, while it’s believed that He was the perfect man, Jesus was a man, & His doubts & fears were just as important as those of those for whom He died.
Opening the show as John the Baptist, Vytas Vergeer welcomes the audience with “Prepare Ye The Way,” his warm, inviting vocals resonating throughout the auditorium as John enters through the audience to baptize the ensemble. As Judas, Vergeer gives a troubled, yet confident, personality. He redresses Jesus as though he were a circus ringleader & Jesus was an underperforming lead act. During “On The Willows,” Vergeer trades off vocals with JoAnne (Aster Vergeer), the cast mourning the future loss of their leader & friend, while Judas mourns the choices he must make in betraying Jesus.
Both Johnny Drew & Vytas Vergeer skillfully deliver their characters, while knowing exactly when to step aside to share the spotlight with fellow cast members. Choreographer Lilou Altman serves the ensemble as Robin, leading the unforgettable “Day by Day.” Well-known for her backstage work, Altman’s appealing vocals & strong presence in the spotlight set the stage exceptionally for one of the show’s most well-loved numbers. Here’s hoping this show is the beginning of yet another of Altman’s innumerable talents.
Returning for her fourth SUF…T production, Melody Blahut steals the show as Gilmer, belting out the toe-tapping showstopper, “Learn Your Lessons Well,” warning the audience to take heed of the parable of Lazarus, lest they risk their immortal souls. Blahut delivers the message with a spring in her step & a vocal proficiency that leaves the audience humming the tune long after the curtain drops.
Newcomer Aster Vergeer cements their place in the SUF…T family as JoAnne. Vergeer blasts “Bless The Lord,” with Jesus telling the ensemble to live for today, & leave tomorrow’s problems for tomorrow. Vergeer hits the song’s final high notes as though the song was written for them, first hitting one high note before landing an octave higher to finish out the song. Along with vocal acuity, Vergeer is also an accomplished musician, dexterously playing a live guitar accompaniment for “By My Side.”
Paul Norfolk returns to the SUF…T stage as Lamar. During “All Good Gifts,” Norfolk offers smooth, soulful vocals as the cast professes their thanks to God for their many blessings. Norfolk sings with an unmatched devotion, with a performance right out of a worship session.
Following a reprise of “Learn Your Lessons Well” from Norfolk, Lorelei Kahn’s Sonia opens the second act, with “Turn Back, O Man,” a cabaret-style number reminiscent of Marlene Deitrich. Clad in fishnets & a pink feather boa, Kahn struts through the audience suggestively, imploring the audience to give up their earthly whims in order to turn to God. Never has evangelism been so darn sexy.
SUF…T veteran Cal Rodriguez takes the reins as Peggy, a woman momentarily shunned by the cast as an adulteress, before Jesus instructs them, “Let the one of you who is faultless cast the first stone.” As He leaves, Peggy begs Him to remain “By My Side.” Rodriguez’s mournful vocals, coupled with Blahut’s harmonies, signal Jesus’ impending departure from the ensemble. As the rest of the ensemble joins in, Vytas Vergeer’s Judas stands to the side, revealing his lamentable intention to betray Jesus. Rodriguez brings the heavenly story back to earth, reminding the audience there’s still a price yet to be paid for enlightenment.
Rounding out the cast as Herbina, Marianne Sohn brings one final moment of levity before the crucifixion, with “We Beseech Thee,” a song that accompanies the parable of the sheep & goats. Begging for mercy, the cast engages in acapella-like vocalizations, kazoo solos, & fun, upbeat pleas, hopeful for God to hear them. Sohn leads the song with enthusiasm, guiding the ensemble in the hope that they will all be forgiven their sins.
Bright, upbeat, funny, & hopeful, Stand Up For…Theatre’s Godspell is a cheerful reminder that we’re all looking for some elusive answer to salvation, when the answers can be easily found in faith, friendship, humor, & forgiveness.
Running Time: Approximately 1 hour and 55 minutes with one intermission
Godspell plays through November 30th 2025 with Stand Up For…Theatre
Performances from November 7th through November 22nd 2025 will be staged at The DoodleHatch Interactive Art Museum— 8775 Cloudleap Court in Columbia, MD. Tickets are strongly recommended in advance for these performances as audience capacity is limited. They can be purchased in advance online.
Performances on November 28th 29th and 30th will be staged at Wesley Freedom United Methodist Church— 961 Johnsonville Road in Sykesville, MD. Tickets are available at the door or in advance online.