Godspell Reloaded

Godspell Reloaded

Godspell from Mixed Voice

September has been a bit of a culture fest – a fabulous film about rainbow comrades rattling the tin for the cause, Liam’s born again experience when kooky Kate flew out of reclusion and, right at the start of  the month, a musical treat from Mixed Voice at the Norwich Playhouse. Every year, Norfolk’s premier entertainment company asks the audience to vote on a show they should try on for size. Last year it was Rent. This year, the vote went to a revival of Godspell, the retelling of the parables attributed to the famous Galilean. With its happy clappy tunes, a flower power cast in primary colours and a newly polished script fit for the iPhone generation, it’s huge fun. Not nearly as successful as the unstoppable and overhyped Lloyd Webber juggernaut, Jesus Christ Superstar, Godspell offers more of a playground intimacy and really suits a smaller venue. Believers and non-believers alike, who could argue with the carpenter’s message of peace and love, particularly when it’s delivered by the multi-talented players of Mixed Voice? But I did spot a small congregation of dog collars fixed firmly to their seats during the standing ovation at the end. Maybe they didn’t like the frocks. There’s no accounting for taste.

A Night at the Rock Opera

RentLiam’s birthday is coming up so I treated him to a night at the rock opera. Players from local not-for-profit entertainment company, Mixed Voice, were strutting their stuff at the Playhouse Theatre trying their hand at ‘Rent.’ It may be a bit of a gay cliché but Liam loves a musical and ‘Rent’ is a musical he loves. Loosely based on Puccini’s ‘La Bohème,’ the tale focuses on an eclectic troupe of impoverished young artists and musicians in the late Eighties struggling against a bitter wind in Alphabet City, the once avant-garde (but now ruthlessly gentrified) district of Manhattan. While Puccini laced his opera with consumption, Rent is stalked by AIDS, the kiss of death back in the day. As the characters try to make ends meet, some meet their end. Despite the misery, Rent is neither depressing nor sugar-coated. But it is tough to stage and perform. A hugely complex, multi-layered score is punctuated by irregular rhythms, constantly changing tempos and complex harmonies which, if poorly delivered, could be a total dog’s breakfast. I had wondered if the cast would pull it off. Well, they pulled it off with some polish, receiving a well-deserved standing ovation. Even a normally reticent Liam leapt to his feet wanting more. Shame there wasn’t an encore.

 

Postscript

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