YOUTH THEATRE REVIEW: Godspell - Bolton Little Theatre, Bolton.

It has been a long while since I have had any brushes with this musical; obvioulsy long enough for Mr Schwartz to rewrite some of the music and lyrics for the show. Why do they do this? Of course, it is his prerogative to do so, it's his show afterall, and he is just one in a long line of composers who have been doing this with their compositions since people started composing - but I just don't understand why, when the product is perfect in the first place and so well-known and loved, they feel they need to change / amend / rewrite / add etc. Oh well; at least I've got my moan out of the way first! Now on to the review... CATS Youth Theatre production of the "all-new" 'Godspell' performed on Bolton's Little Theatre main stage. 

I had, until very recently, never heard of CATS Youth Theatre, and so had no idea what to expect. They are good.. very good indeed! The pandemic and lockdowns have obviously stopped them doing live shows for the last two years, but one wouldn't have noticed, as the team-work and ensemble nature of this show is paramount to the show's success, and succeed they did, with flying colours!

The set was an open stage, all the drapes had been removed exposing the bare walls. Around the perimeter, building company metal guard rails and hanging on to these, various props and costume items that were to be used during the show. The opening, where the cast sing the mantras and beliefs of various philosophers and come together in their own 'Tower Of Babel' is perhaps the most difficult song and section of the musical to interpret. Here, (in a simplified and shorter version from the one I am familiar with), the cast sang unaccompanied - a very brave choice. However, what maybe should have been a somewhat eerie and awe-inspiring opening was slow and most uninspiring sadly, and it wasn't until John The Baptist called on everyone to 'Prepare Ye The Way Of The Lord' and the costumes changed to bright, colourful, circus style, that the dynamics, mood and energy levels picked up too. I am still most uncertain why director Louise Cohen chose to open the show this way; but thankfully what followed - right until the final bow of the final curtain call - was excellently presented by all. 

What I took from this show; whether it be from the director, the choreographer, or indeed the cast, was that it was totally co-ordinated, cleverly presented, interesting, and the dedication, enjoyment and energy created by everyone was palpable and transfused onto the audience (even if we didn't respond to those little interaction moments!). 'Godspell' simply doesn't work as a show unless the ensemble is tight with plenty of onstage chemistry; and this was clearly shown throughout. 

The standard of singing, and indeed general stagecraft, was very high indeed. Reading the biographies of the main cast in the programme, it is most interesting to note that not all wish to pursue performing arts as a career. There is no doubt in my mind that all of them quite easily could if they so wished. 

Presented as a set of vignettes - each one a parable from the gospels - with plenty of sometimes rather silly or childish humour, songs and dances, the show rattles on a-pace until the final few hours of Jesus's life are presented, and the mood changes dramatically, showing raw and real emotion. This was signalled superbly, with 'Alas For You' being the denouement's precursor. And whilst the show was never written with a resurrection, we all know that the curtain call suffices for that, and the mood is lifted to joyous once more in order that we leave on a high.

The role of Jesus this evening was taken by 17 year old Jonathan Allen. With such a lovely voice and great stage presence, he was a most worthy kingpin in the show. Extremely watchable, and very talented. But of course he was not the only one who had oodles of talent. Ethan Browne as the dual role of John / Judas showed great sensitivity and depth of character, as well as being highly entertaining; and the leading roles of George (Nathan Dodds), Telly (Harry Fenwick), Nick (Harry Cohen), Anna Maria (Madison Dilworth), Uzo (Eve Bolton), Lindsay (Rhianna Foster), Celisse (Amy Costello), and Morgan (Ava Deveney) were all superbly cast and had great solos. Although I have to admit that my favourite numbers were 'Day By Day', 'All Good Gifts', and 'By My Side', it was also more than heartening to see so many boys / young men on stage too; and of course the showstopping number in the show quite rightly was 'All For The Best'. I have to admit to not being entirely sure why these character names were chosen, as they are never referred to on stage by character name, and I've never come across those names before.- is that also something that changed when Schwartz basically rewrote the show I wonder?! 

A large chorus completed the ensemble on stage, adding harmonies, depth, and texture to the whole, especially in the set pieces and choreography. The one thing which would have been the cherry on the icing for me would have been to have had a deeper and fuller and more prominent band / score. The programme offers little help in this regard, crediting only a musical director (Louise Cohen), and a guest conductor (David Wilson), however, we never see any live musicians, and the music they were making sounded perhaps like it was just a keyboard and drum, which sufficed, but obviously not optimal.

What a joyous production this was, and to see the togetherness and expertise of this company of teenagers was both inspiring and a genuine pleasure. 

Reviewer - Matthew Dougall
on - 12.5.22