Do I wake or sleep?

I'm all for cross-casting major roles in the "god" musicals -- one of my favorite productions of JCS had a female Simon* who absolutely rocked -- but aren't the vocal parts in Godspell likely to be a little tough for this? Especially Judas/John the Baptist. The opening "Pre-e-e-pare Ye the way of the Lord!" just requires a certain vocal quality -- it HAS to be a solid tenor -- to grab the audience's attention and set the mood for the show, IMHO. I can't think of another musical where a single line, sung just so, has such an impact. But that's just my un-cultured layman's take on it.

Perhaps Jesus, though. That could be done.

* Not only female, but strikingly diminuitive at maybe 4'10" and 80#, playing a completely convincing military leader. I've seen maybe a dozen iterations of JCS, including on Broadway, and she was bar none the best Simon of the lot (and this from a college theatre production).

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I've always wanted to cast Jesus as a big woman, perhaps a black woman. Think Aretha Franklin.

The thing is, you can also split the Judas/JtB role--they don't have to be played by the same person. I figure sometime before "All for the Best" is when that track becomes Judas, because of the mordant nature of that song. So maybe have a guy sing "Prepare Ye..." and a girl take over the track at some point. I also can think of women who can approximate that lyric tenor sound pretty convincingly.

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darksheik.livejournal.com

The DeBaun production had a separate Judas/JtB. We also had double the cast of a normal Godspell, which made for an extremely full sound...

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Interesting. I meant to see it at DeBaun and never did.

I also think if you have a male/female split on Jesus/Judas (either way), it adds something.

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I think that transformation would be difficult to work into Godspell, off-script. Maybe it could be done. It's an interesting point of transition already, as it's written. In JCS, it's not an issue, because the show starts with a disillusioned Judas. But how else would you work the transition from closest disciple to antagonist, in Godspell? How would you establish Judas without further altering the script? It works as is precisely because it's a dual role.

I agree, an Aretha Franklin could handle Jesus, and well. Another voice that comes somewhat randomly to mind (for either role) is Grace Slick. Yes, you heard me. I, for one, think that would rock.

Hey, if you've got a vision, get a cast and a space and a modest budget and call me. You've got a technical director for either show in a heartbeat!

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Well, there's not a ton of narrative to the script as it is--we sort of start off with a natural beginning with "Babel" and "Prepare Ye" and "God Save the People" then it's basically a vaudeville format until "One of you will betray me tonight.." in the second act. I agree that the duality of John and Judas is a powerful one and adds dramatically to the piece, I'm just saying if you want to spread the wealth a bit, you can. I mean, do you even need a transition? Judas is there from the beginning but doesn't really emerge as antagonist until the beatitudes sequence which leads into "All for the Best."

If I decide to produce this myself (what is it with me and wanting to do eminent Broadway shows???), I will definitely call you! I think you and I would be a kickass team.

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Settled: We must work together one day!

So, Judas is sort of undefined for a good part of the show until "one of you will betray me tonight" -- the point when the happy happy show gets dark. OK, but if it's staged right, JtB should be doing a silent JCS:Judas for 45 minutes by that point, with spectacular acting letting the audience know that he's just not into the whole happy nonsense going on around him. Enjoy the vaudeville and the puppets and the tap dancing, but what's up with the sourpuss in the corner? Oh! Right. One of you will betray me - now it makes sense (under a dramatic change in lighting and a sudden shift to a flat key). THAT is how it should be. Where's the new not-JtB-Judas during this lead-up if you split the role?

Remember, the Judas/JtB has sent chills down this audience's spines with "Prepare Ye," shattering the chaos of "Babel," an hour before. When he takes the role of Judas, he commands attention and is the lead role -- he IS the lead role in Godspell -- so how does he (or she) do this if you split the character?

Full disclosure: I'd give my right arm to collaborate in a production of either Godspell or JCS (or Tommy, but that's another topic) with you. In a heartbeat. But I won't make it easy!

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You know, DeBaun is doing Tommy this winter...

So, Judas is sort of undefined for a good part of the show until "one of you will betray me tonight" -- the point when the happy happy show gets dark. OK, but if it's staged right, JtB should be doing a silent JCS:Judas for 45 minutes by that point, with spectacular acting letting the audience know that he's just not into the whole happy nonsense going on around him.

See, I see Judas as emerging (well, not overtly) earlier, during "All for the Best"--there's some crankiness going on there. His lyrics are much more cynical than Jesus's--"Someone's got to be oppressed!"

When he takes the role of Judas, he commands attention and is the lead role -- he IS the lead role in Godspell -- so how does he (or she) do this if you split the character?

Did you mean to say he is the lead role in JCS? Jesus is very much the lead role in Godspell. Judas gets only 1-2 songs.

I was thinking of giving "On the Willows" to Judas, instead of the band singing it. (Well, really *I* should be singing it, 'cause I love that song, but that's for the recording :) That should help balance the taking away of JtB, should I decide to go in that direction. And maybe have some sort of silent redemptive imagery at the end for Judas (or have him sing the reprise of "Prepare Ye...")--I always felt bad that he was so reviled by history. He was fulfilling the scriptures after all, and is what he did that much worse than denying Christ three times as Peter did? I like to think Judas repented.

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There could be casting restrictions. Regarding the conversation we had the other day I came across one licensing agency that specified in a standard contract that, unless special permission is granted, roles must be cast with actors of the character's gender as written.

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If Godspell has such restrictions, it would be a bitter joke indeed--for a show that throws over all the other stereotypes about Jesus and His teachings.

Edited Date: 2008-08-11 06:36 pm (UTC)

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You can always find out who handles its performance rights and inquire.

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I'm not planning to do it, I'm just venting. I actually did it awhile ago and I don't remember anything about restrictions.

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Well, changing the gender of a character, or having someone of the opposite sex play the character as its written sex, generally falls under the blanket agreement of not changing anything in the text without written permission. You don't really know what the authors will accept until you ask.

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But that's not in the text. That's not changing a line, that's casting which is the prerogative of the production team. I have as much a problem with legally mandated gender-based casting restrictions as I would against race-based casting restrictions--especially, as I've said, for a show like Godspell.

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And I don't think that's part of a blanket agreement--I think that has to be specifically written into the rights, like Jerome Robbins does with his choreography.

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I have to disagree there. Although I would personally be more liberal with such decisions I believe it's the author's right to say that the gender and/or race of the character is a part of the text and that the roles must be cast according to gender, race and other specifications he/she considers to be essential. A standard Dramatists Guild contract gives the author veto power over casting. (That's how Arthur Laurents was able to prevent Patti LuPone from doing Gypsy until he changed his mind.) And if there's any fuzzy area I side with the decision of the author because I support his/her right to determine what is and isn't an essential part of the play.

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See my post above--if you consider it that essential, then have it written into the rights. But I don't agree that's a default assumption--again, especially with a play like Godspell.

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From the MTI website, which handles Godspell's rights: When you are granted a performance license, by law the show you license must be performed "as is." You should not make any changes unless you have obtained prior written permission from us to do so. Otherwise, any changes violate the authors' rights under federal copyright law. Contact us - it's always safest to ask."

While the meaning of "as is" can be debated I see no harm in simply checking if casting against race and/or gender types is acceptable to the author. After all, if I'm presenting someone else's creation I wouldn't want to risk doing something he or she would disapprove of.

Godspell is a bit of a different matter, however, since Tebelak has been pretty open about encouraging companies to improvise and make changes in his book pretty much at will. There may even be note about that in the text. However, I don't know if Schwartz allows the same freedom with his score.

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I'm not planning to do it...

Don't tease me, then!

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The show is over 30 years old. At some point, it has to be public domain, right?

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It takes a lot longer than that to enter the Public Domain--for one thing, I think all the authors have to die first, and then it's like 50 years.

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nppyinzer.livejournal.com

I produced Godspell in college (featuring my wife as director and Jason as JtB/Judas, which, by the way, was AWESOME), and don't remember anything in the rights about casting restrictions.

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