What Are the Best Kids Seats at Hylton Performing Arts Center

April 24, 2022 Post a Comment

Godspell is one of the nigh-produced shows since its debut in 1972 and subsequent film accommodation the following year. The 2011 Broadway revival book and score brings edgier and more intricate arrangements to the classic songs by Stephen Schwartz, requiring high free energy, creativity, and unencumbered joy — a recipe that this cast perfects under the management of Scott Heine.

The setting is a coffee shop — the crossroads of many communities. A live band performs prior to the show and immediately sets the tone. Some ensemble members are already on phase and dressed as everyday people. At that place is no 4th wall — nosotros're already a part of the community. Later on preshow announcements, the cast argues with varying philosophies in the intentionally chaotic song "Tower of Babel." Josh Carias as John the Baptist (the barista) breaks through the chaos with "Prepare Ye" in a captivating baritone, baptizing patrons ane by one as the phase is cleared of tables and chairs and set with strategic boxes and other items.

The cast of 'Godspell.' Photo by Sweet Ginger Snaps Photography.

The side by side person to arrive is Kelly Snowfall as Jesus. His portrayal was down to earth and compassionate, reminding the audience that Jesus was a real person who walked amongst the states. Throughout the testify, Snow's versatile vocals navigated the multiple stylings of the revival'due south arrangements.

Almost productions of Godspell use a physical representation of conversion, like a bloom, that is given to each cast fellow member during "Salve the People." Managing director Scott Heine instead stages conversions every bit private moments throughout the show. Each character's moment of acceptance is shown through Jesus placing a red kerchief effectually their wrist. Separating these into individual moments is an important distinction, showing each graphic symbol'south personal decision to have and follow Christ and His teachings.

Betsy Hansen's "Day by Mean solar day" was blithesome and exuberant — leading many in the audition to sway in their seats and hum along to the familiar melody. After more than parables, Ring Director Drew Fleming emerged from the corner on a ukulele to back-trail Rebecca White singing "Learn Your Lessons Well." The fun choreography and White's strong vocals were a overnice contrast to Jesus' counter-melody giving an object lesson almost light.

Katy Benko Miner served as the vocal director equally well as bandage member — her powerful voice reminds me of Natalie Grant. Prior to her song "Anoint the Lord," her character experiences a shift in perspective as she calls Jesus "Teacher" before taking u.s.a. to church building with her soulful and engaging performance.

The choreography from Josie Corrado featured a wide range of styles including ballet, jazz, lyrical, and even lindy hop. "All for the Best" is a duet between Jesus and Judas (Josh Carias) as a vaudeville-style tap number — and the entire bandage donned tap shoes to join the fun! Corrado'southward choreography included movements and concrete stories for the broad range of experience and flexibility inside the cast. There were a few moments where the choreography upstaged the lead vocalist, only overall the dancing added a wonderful layer of storytelling.

Rachel Marineau shows her dynamic song talents on the vocal "All Good Gifts." Margo Heine'southward choral direction is evident in every vocal, specially in this ballad. Martin Kelly then energetically leads the group in "Lite of the World" in a telephone call-and-response stone style to shut Deed I on a loftier note.

Kelly Snow as Jesus and the cast of 'Godspell.' Photograph by Sweet Ginger Snaps Photography.

Act II has a different tone every bit information technology follows Jesus' last days. Dawn Gaynor kicks things off from the back of the theater with "Turn Back O Man" and playfully interacts with the audience between vocals. "Alas for You" is an uptempo rock song, showing Jesus' righteous anger against the Pharisees. The band does an particularly wonderful task with this difficult vocal. "Nosotros Beseech Thee" is led past Alan Pierce, commanding the stage with loftier energy. Shortly afterward, "Cute City" gives the audience the souvenir of reflection through Snow's beautiful operation, next leading to Jesus' emotional grappling with His love for His people and the ultimate betrayal He is soon to face.

This production is different in a few means, one, in particular, involves Hilary Pierce as Mary Magdelene. Rather than someone bringing Mary Magdelene to Jesus for judgment, Heine stages information technology as a friend bringing Mary to Jesus for mercy and guidance. A mob follows and threatens to stone her — only Jesus intercedes. The crowd disbands and Hilary Pierce sings "Past My Side" in a gentle phonation that is both captivating and moving.

During "On the Willows" led by band member Aaron Talley, followers each have a final moment with Jesus — many recreating their conversion stories through choreography. Josh Carias's Judas joins Talley'due south vocals equally he grapples with his own faith. I often find myself looking at the ensemble characters more than the leads in an emotional scene, and I'm glad I was able to lookout Judas. Carias'southward concrete comedic interim was superb leading up to this scene, simply his power to display the torment and regret of his expose was powerful. The end of the show is not a surprise, just I recommend seeing it for yourself if you're able.

Ring Director Drew Fleming led and rocked on lead guitar, aslope Aaron Talley on bass, vocals, and slide whistle, Joseph Evans on electric guitar and mandolin, Chris Calavas on drums, and Lori Roddy on keyboard and background vocals.

The coffee store set up designed and constructed by Peter Marsh was realistic and versatile — suspending belief inside the framing of a recognizable community place. The expert lighting pattern from Dan Martin played off of the set and proscenium to create dozens of unlike environments for the diverse vignettes. The audio design from Frankie Stamps and run by Anthony Amico was seamless and the ruddy on top of a well-run production by Phase Managing director Rebecca Perez.

As a parent, I appreciate shows that are family-friendly without existence exclusively created for children. The parables are told in fun and creative means, weaving electric current events with musical theater and pop culture references. The improvisational nature of audience participation kept the cast and audience engaged. ˆ is truly an ensemble show that gives each member opportunities to shine. I can't expect to see what Hope Theater does next!

Running Fourth dimension: 2 hours with a 15-minute intermission (non including the 30-infinitesimal preshow live music).

Godspell runs through April 10, 2022, at Hope Theater, 4173 Bludau Bulldoze, Warrenton, VA. Shows are Fridays and Saturdays at seven pm (except Apr 2) and Sundays at ii pm. In that location will besides be a Sat matinee on April 9 at 2 pm. Tickets ($xx for adults, $17 for students or seniors) are available online or at the door until sold out.

The Godspell program is available online here.

COVID Safety: Audiences are requested to wear an appropriate mask that covers their nose and mouth while inside the theater. Hope Theater'southward consummate COVID-19 Safe Precautions are here.

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New community theater to offer 'Godspell' in the name of Hope (news story)