Godspell
Original cast recording
Music	Stephen Schwartz
Lyrics	Stephen Schwartz
Book	John-Michael Tebelak
Basis	Gospel of Matthew (primarily)
Productions	1971 Off-Broadway 1971 London 1976 Broadway 1988 Off-Broadway 2000 Off-Broadway 2001 US Tour 2007 UK Tour 2011 Broadway 2012 US tour

Godspell is amusical in two acts with music and lyrics byStephen Schwartz and abook byJohn-Michael Tebelak.^[1] The show is structured as a series ofparables, primarily based on theGospel of Matthew, interspersed with music mostly set to lyrics from traditionalhymns, with thepassion of Christ appearing briefly near the end.

Godspell began as a project by drama students atCarnegie Mellon University and then moved to theoff-off-Broadway theaterLa MaMa Experimental Theatre Club in theEast Village of Manhattan. The show was rescored for an off-Broadway production, which opened on May 17, 1971, and became a long-running success. Many productions have followed worldwide, including a 2011 Broadway revival. An abbreviatedone-act version of the musical designed for performers aged 18 and under also exists, titledGodspell Junior.^[2]

Severalcast albums have been released over the years. "Day by Day", from the original cast album, reached #13 on the pop singles chartBillboard Hot 100 in the summer of 1972 and #7 in Canada'sRPM 100 Singles chart.^[3][4]

The show features eight non-Biblical characters, who sing and act out the parables: Gilmer (silly, a great storyteller); Robin (a tomboy); Herb (goofy and entertaining); Jeffrey (happy and excited); Joanne (eager and enthusiastic); Lamar (clumsy and unintentionally funny); Peggy (shy and loyal); and Sonia (dramatic with a put-on sensuality).^[5] In the original script, licensed through Theatre Maximus, the "Christ" character and the "John" and "Judas" role are assigned the names of the original performers, Stephen and David.^[6] All ten actors are on stage throughout the entirety of the production.^[7]

In the revised script used for the 2011 Broadway revival, the names of the cast are again assigned to the non-Biblical roles: Nick, Telly, George, Anna Maria, Lindsay, Uzo, Morgan, and Celisse. Each character is also assigned a few character traits. An ensemble can also be added to the production if needed.^[8]

Since the names of the characters are normally changed to the cast members' names in professional productions, the names here match the character's main solo, excluding Jesus and John/Judas. These are the names the characters are referred to in the licensing of the show.^[9]

Notable replacements include:Corbin Bleu as Jesus (Broadway 2011),^[13]Sonia Manzano (Broadway 1976),Don Scardino (Toronto 1972),Dave Thomas (Toronto 1972), andVictor Garber (Off-Broadway 1972).

The show opens with the "Opening (Monologue)", asGod's voice, spoken byJesus, declaring his supremacy: "My name is Known: God and King. I am most in majesty, in whom no beginning may be and no end." The cast then enters and takes the roles of variousphilosophers who sing their philosophies, first alone, then in cacophonouscounterpoint ("Prologue: Tower of Babble").

In response,John the Baptist enters blowing ashofar to call the community to order. He then beckons them to "Prepare Ye, The Way of the Lord!" and baptizes the cast ("Prepare Ye"). John gives a short sermon, asJesus watches quietly. Jesus then announces his presence and says that he also wishes to be baptized. John instead asks to be baptized by Jesus. Jesus explains that "We do well now to conform with all that God requires" and is baptized by John. The cast enters and sings with Jesus ("Save the People").

In his firstparable, Jesus explains that he has come "not to abolish the law and the prophets, but to complete." Jesus explains to the cast that those who adhere to the law of God will earn the highest place in the Kingdom of Heaven. He tells them the parable ofthe Widow and the Judge, demonstrating that God is a just jurist who will support those who cry out to him.

The cast begins to understand Jesus' teachings and take it upon themselves to tell the story of thePharisee and the Publican praying in the temple: "Every man who humbles himself shall be exalted!"

As Jesus teaches the law of the offering gifts at the altar, the cast makes offerings of themselves. They are taught that to approach God's altar, they must be pure of heart and soul. They then act out theParable of the Unforgiving Servant, a story of a master and a servant who owes him a debt. The servant asks his master for pity in repaying the debt, and the master absolves it. The servant then turns to a fellow servant who "owed him a few dollars" and demands that it be paid in full. The master, hearing this, then condemns the servant to prison. Jesus explains the moral: "Forgive your brothers from your heart." The character telling the parable sings "Day by Day", and the cast joins in. After the song, Jesus teaches that if one part of you offends God, it is better to lose it than to have the whole of the body thrown into hell.

The cast then playscharades to finish several statements posed by Jesus, including "If a man sues you for your shirt..." and "If a man asks you to go one mile with him...." The cast then performs theParable of the Good Samaritan as aplay-within-a-play. Jesus explains the need to "love your enemies" and "not make a show of religion before men". He says: "God will reward a good deed done in secret" ("Shhh! It's a secret!").

The cast then performs the parable ofLazarus and the rich man. On earth, the rich man feasts, and Lazarus begs and is ignored. Upon dying, Lazarus is rewarded with Heaven, while the rich man is in Hell. The audience is told to "Learn Your Lessons Well" or be faced with eternal damnation. When the rich man asks Abraham if he would send Lazarus back from the dead to warn his brothers of their impending doom, Abraham tells him no: "If they do not listen to Moses and the Prophets, they will not be convinced even if someone should rise from the dead."

Jesus teaches that no man can serve two masters (God and money). A member of the cast tells a story of a man who spent a lifetime acquiring the good things in life, then dies before he has the time to enjoy them. This character sings "Bless the Lord," then Jesus tells the cast not to worry about tomorrow: "Tomorrow will take care of itself. Today has problems of its own."

In anantiphonic chorus, the cast recites theBeatitudes. Judas directs the final beatitude regarding persecution at Jesus, and Jesus quickly changes the subject ("Did I ever tell you that I used to read feet?"). However, Jesus then persuades the cast that it is "All for the Best" and heaven contains the ultimate reward as Jesus and Judas do asoft shoe together.

This is followed by theparable of the Sower of the Seeds, which Jesus tells them represent the Word of God ("All Good Gifts").

By this point in the musical, the group has transformed from a rag-tag cast, into a community of love and caring and now march as soldiers in the military, signifying their ability to think as one. With Jesus as the drill sergeant, they perform theParable of the Prodigal Son. The cast sings "Light of the World" about Christ's Light and how it shines in each person.

Jesus thanks the audience for coming and announces a 10-minuteintermission.

There is audience interaction during intermission. In the original production, the cast joined the audience for wine and bread. In the 2011 Broadway revival, the audience was offered wine on the stage.

The second act then opens with one or more cast members singing "Learn Your Lessons Well", calling the audience back to their seats.

After the reprise of "Learn Your Lessons Well", a member of the cast sings "Turn Back, O Man", imploring humankind to give up its temporal pursuits and turn to God. Jesus then says: "This is the beginning."

Several members of the cast then begin to question Jesus's authority, and he responds with yet another parable. He is asked, "What is the greatest commandment?" and responds, "You shall love the Lord your God with all your heart and all your soul... And the second is like it: 'You shall love your neighbor as yourself.'" ThePharisees continue to question him, and he laments "Alas for You" and calls them hypocrites. Members of the cast gather, join in Jesus' song, and throw garbage at the Pharisees.

Jesus predicts that he will not be seen for quite a while, while standing at the "Wailing Wall", and predicts great wars and famines. He reminds the cast and audience of the time ofNoah and teaches that faith can calm the storm. The cast is told: "Keep awake, then. For theSon of Man will come at a time when you least expect it."

One woman in the cast is shunned as anadulteress. Jesus says: "Let the one of you who is faultless cast the first stone." Her accusers then bow their heads and walk away. Jesus walks over to her and asks: "Woman... where are they now? Has no one condemned you?" The woman answers: "No one, sir." He tells her: "Then nor shall I. You may go, but do not sin again." As she watches Jesus walk from her, she entreats him to remain ("By My Side"). During this song, Judas foretells his upcoming betrayal of Jesus.

In one of the lighter moments in the second act, Jesus tells how he will separate men as a shepherd separates his flock intosheep andgoats. The sheep will enter heaven while the goats must suffer eternal damnation. "We Beseech Thee" cry the goats, begging for mercy.

After the song, the cast reminds each other to take things "Day by Day", as they remove their clown makeup, face paint, or object. They assemble for theLast Supper and Jesus tells them that one of them will betray him. Each member of the cast asks, "Is it I?" ending with Judas: "Rabbi... can you mean me?" Jesus tells him to do quickly what he must do and Judas runs off. Jesus breaks the bread and shares the wine, while saying the traditional HebrewSeder blessings. He tells his followers that they will dine together in the Kingdom of Heaven. The band sings "On the Willows", which is about what has been sacrificed. In the song, Jesus blesses each member of the cast. He asks that they wait for him as he goes into theGarden of Gethsemane to pray.

In the garden, Jesus implores God to let the burden be lifted from his shoulders if there is another way. Jesus returns to his followers to find them all asleep. He begs them to stay awake, but they all fall asleep again and Jesus warns them they will all betray him three times (a reference to the apostlePeter). Jesus then prays to God that if his death cannot pass him by, then His will must be done. He is then tempted bySatan (usually played by the apostles), but orders him away.

Judas returns to betray Jesus, but has a moment where he cannot bring himself to do it. He tries to leave but finds himself boxed in by invisible walls, except for one path which leads to Jesus. Jesus encourages Judas to do what he has come to do, and Judas grabs Jesus to bring him to becrucified. The community starts to attack Judas, while Jesus tells them to stop, as all who live by the sword will one day die by it. Judas (usually alone, as a representation of the others arresting Jesus) ties Jesus upon an electric fence (representative of the cross) as Jesus berates him for arresting him at night, but then says that it had to happen to fulfill the prophets' writings.

The "Finale" begins, loud and in B-minor, with Jesus wailing, "Oh, God, I'm bleeding," and the community answers: "Oh, God, You're bleeding." Jesus dies and the music ends. The women of the cast sing "Long Live God", and the men join in with "Prepare Ye the Way of the Lord" in counterpoint. The cast removes Jesus from the fence and carries him out, either offstage or through the aisles. The cast then finishes with a reprise of "Prepare Ye the Way of the Lord".

"Tower of Babble," the show's opening number, has often been omitted in productions. The song consists of the eight disciples (or soloists) acting out as philosophers, each singing about their various philosophies. They grow increasingly more irritated with each other, sing in contradiction, and eventually run out of words. "Prepare Ye" follows this prologue.

In the original productions, the philosophers wereSocrates (Jeffrey Mylett),Thomas Aquinas (Peggy Gordon),Martin Luther (Lamar Alford),Leonardo da Vinci (Gilmer McCormick),Edward Gibbon (Sonia Manzano),Jean-Paul Sartre (Joanne Jonas),Friedrich Nietzsche (Robin Lamont), andBuckminster Fuller (Herb Braha). In the 2001 revival, Luther, Gibbon, Nietzsche, and Fuller were replaced byGalileo Galilei,Jonathan Edwards,L. Ron Hubbard, andMarianne Williamson, respectively. The 2011 revival retains Galilei, Hubbard, and Williamson, but restores Gibbon and replaces da Vinci withGeorg Hegel.

On many early cast recordings, including the original off-Broadway recording and the original London recording, the prologue was omitted in order to produce an album that could sell as a pop album. This omission was for marketing purposes and was not meant to diminish the importance of the number, as Stephen Schwartz has repeatedly stated. As a consequence, some audiences have gotten the impression that this number was added into the score later.

"Beautiful City" was written in 1972 as part of the film and re-written in 1993 after theRodney King riots in Los Angeles. In the film, it follows "Alas for You" and "By My Side", omitting the parable typically found in between these two numbers.

In the decades following the film's release, many directors have chosen to use the lyrics from the original film version, sometimes to replace the "Day by Day" reprise, "Tower of Babble", like the prologue, or adding it the end of the musical as an additional scene depicting the Resurrection.

The 2011 Broadway revival places "Beautiful City" after "We Beseech Thee" and just before the Last Supper, sung by Jesus as a slow ballad. This production used the revised 1993 lyrics and is included on its cast recording, along with a cover byJohn Ondrasik ofFive For Fighting as a bonus track.

Some productions use both the original upbeat film version as a prologue as well as the ballad version, either in its original place just before the Last Supper whereupon the "Day by Day" reprise is used as the Resurrection, or as an epilogue depicting the resurrection itself.

InMusic Theatre International's Broadway Junior series, which edits popular musicals to one act appropriate for a middle school cast, "Beautiful City" is included in the show.Godspell Junior contains most of the first act and almost none of the second act. "By My Side" is omitted entirely. "Beautiful City" is placed at the beginning of the second act and is immediately followed by the Last Supper, the Betrayal, and the Crucifixion.

John-Michael Tebelak wrote the first version ofGodspell as hismaster's thesis at Carnegie Mellon University. The Carnegie Mellon cast included (listed in speaking order): Andrew Rohrer, Mary Mazziotti, Martha Jacobs, Robin Lamont, Robert Miller,Sonia Manzano, Stanley King, Randy Danson, James Stevens, andDavid Haskell with original music by Duane Bolick.^[14]Ted Danson has mentioned that he was cast in this original production on several occasions but had to leave the production due to a case ofBell's palsy.^[15][16] This version was performed at Carnegie Mellon in 1970 by students from Carnegie Mellon's Theatre Department.

The show was then brought to the attention of producersEdgar Lansbury (brother ofAngela Lansbury),Joseph Beruh, and Stuart Duncan by Carnegie Mellon alumnus and associate producerCharles Haid, who wanted to transfer the show to off-Broadway.^[17] The show was first produced at La Mama as a play with original music for eight songs by Duane Bolick, Jeffrey Mylett, who added one of his songs ("The Raven and The Swan") and Peggy Gordon and Jay Hamburger, who added "By My Side". The producers then hiredStephen Schwartz, another Carnegie Mellon alumnus, to re-score the show. Schwartz's score incorporated a variety ofmusical genres, includingpop,folk rock,gospel, andvaudeville. "By My Side", written by Carnegie Mellon students Jay Hamburger and Peggy Gordon, was kept from the original score. As in the original score, most of the lyrics not written by Schwartz were from theEpiscopalhymnal.^[18] The show opened as a musical at theCherry Lane Theatre on May 17, 1971. It transferred to the Promenade Theatre three months later, and closed on June 13, 1976, after 2,124 performances at the Promenade.^[19] This production was directed by Tebelak, and the original cast includedLamar Alford, Peggy Gordon,David Haskell, Joanne Jonas, Robin Lamont,Sonia Manzano,Gilmer McCormick,Jeffrey Mylett, Stephen Nathan, and Herb Braha (Simon).^[20] The band included Jesse Cutler on guitar and bass, Richard LaBonte on bass, Stephen Reinhardt on keyboards, andRicky Shutter on drums and percussion. In late 1971, LaBonte was replaced by bassist Steve Manes when two of the original musicians, Shutter and LaBonte, went with the majority of the original cast to The Mark Taper Forum in Los Angeles to open the show there. With the exception of LaBonte, they all returned to the Promenade in January 1972.^[20]

The first production after the off-Broadway show opened at thePlaybox Theatre inMelbourne, Australia on November 15, 1971. The cast includedColleen Hewett,Collette Mann, Christopher Pate, andGeorge Spartels. The producers, Aztec Services and Williamson Edgley Theatres, opened a second production inSydney on April 10, 1972.Peta Toppano,John Waters, andMarty Rhone were in the Sydney production. Melbourne played 504 performances and Sydney played 507 before the two companies went on tour, performing another 700 shows.^[21]

Godspell opened atThe Roundhouse theatre inChalk Farm,London on November 17, 1971. This London production featured Jacquie-Ann Carr,Julie Covington,David Essex, Neil Fitzwiliam,Jeremy Irons, Verity-Anne Meldrum, Deryk Parkin, Tom Saffery,Gay Soper, andMarti Webb. After a successful run at the Roundhouse Theatre, the production transferred to theWyndham's Theatre, also in London, on January 26, 1972.^[22] withBarry Stokes.

TheWashington, D.C. production ofGodspell, atFord's Theater, ran from 1972 into 1973.^[23] The cast consisted ofBartley Braverman, Scotch Byerley, Baillie Gerstein, Tony Hoty, Maggie Hyatt,Doris Jamin,Irving Lee,Dean Pitchford, John-Ann Washingson andLynne Thigpen.

The 1972–1973Chicago production played at the Studebaker Theatre, with a cast of Richard Gilliland (Jesus), Joe Mantegna (Judas), JoAnn Brown-El, Sammy Chester, Karla DeVito, Carol McGill, Jim Parks, Tricia Smith, Dan Stone, and Fran Uditsky.

The 1972–1973Toronto production opened at theRoyal Alexandra Theatre and was intended to be a run of a few dozen performances for asubscription audience. The cast was drawn entirely from local performers, instead of a touring cast. After an enthusiastic response from the audience, the scheduled run at the Royal Alexandra ended and the show moved uptown to the Bayview Playhouse inLeaside. The Bayview Playhouse production ran until August 1973, with a then-record run of 488 performances.^{[24][user-generated source?]}

The Toronto production launched the careers of many actors, includingVictor Garber,Eugene Levy,Andrea Martin,Gilda Radner,Dave Thomas,Jayne Eastwood andMartin Short, as well as the show's musical director,Paul Shaffer.^[24]Howard Shore playedsaxophone for this production.

You Had To Be There: How the Toronto Godspell Ignited the Comedy Revolution, Spread Love & Overalls, and Created a Community That Changed the World (In a Canadian Kind of Way), a documentary film byNick Davis about the 1972 Toronto production, premiered at the2025 Toronto International Film Festival.^[25]

Godspell opened inMaseru,Lesotho in 1973 and ran for five months. When Des and Dawn Lindberg brought the show to theUniversity of the Witwatersrand (Johannesburg), it was immediately banned on the grounds ofblasphemy. The ban was widely recognized as a political response to the depiction ofracial mixing, which presented a direct challenge toapartheid inSouth Africa.

The Lindbergs challenged the ban in the Supreme Court and won their case. As a result,Godspell toured South Africa for two years and opened doors to all races on both sides of the footlights. This production was both a theatrical triumph and a political and legal breakthrough.^[26]

A Spanish version debuted in theTeatro Marquina of Madrid. It was adapted byManuel Collado.To hedge the risk of a casual-spirited play about Jesus innational-CatholicFrancoist Spain, the libretto was adapted by priestJosé Luis Martín Descalzo and the lyrics by regime poetJosé María Pemán.It was directed by John-Michael Tebelak himself.The cast includedRita Aragón [es] (of theAragón family [es]) andJosema Yuste.^[27]

The Tehran production was staged at theIran-America Society by the Masquers theater group, under the direction of Pat Zich, with musical direction by Richard and Georgia Bassett. The cast, crew and musicians were drawn from American, British and Iranian students, teachers and expatriates. The production ran for 7 days in April '74, with matinee and evening performances.

The first Broadway production opened on June 22, 1976, at theBroadhurst Theatre. It was directed byJohn Michael Tebelak, with Steve Reinhardt asmusical director, costumes bySusan Tsu, lighting by Spencer Mosse, and sound by Robert Minor. The opening cast featuredLamar Alford, Laurie Faso,Lois Foraker, Robin Lamont, Elizabeth Lathram, Bobby Lee, Tom Rolfing,Don Scardino, Marley Sims, and Valerie Williams. Kerin Blair, Bob Garrett, Michael Hoit, and Kitty Rea were understudies. The band consisted ofPaul Shaffer (keyboards, conductor), Mark Zeray (guitar), Chris Warwin (bass), and Michael Redding (percussion).^[28]

The show transferred to thePlymouth Theatre, then to theAmbassador Theatre, where it closed on September 4, 1977, after 5 previews and 527 performances.

Ten years after the original production ofGodspell and twenty years after the theater's founding, the musical was revived atLa MaMa Experimental Theatre Club in Manhattan. Tebelak directed the 1981 production, with Robert Stecko as musical directed. The cast includedLamar Alford, Kerin Blair, R. Bruce Connelly, Michael Hoit,Paul Kreppel,Sonia Manzano,Melanie Mayron, Marilyn Pasekoff, Leslie Ann Ray, and Jeremy Sage, withDanny Rutigliano as understudy.^[29] John Michael Tebelak then flew to Los Angeles where a west coast tenth anniversary reunion production was staged featuring original cast members Peggy Gordon, Stephen Nathan, Herb Braha, Jeffrey Mylett, Gilmer McCormick and David Haskell, with Marley Sims, Patti Mariano, Jeannie Lange, Bob Garrett and original musical director Stephen Reinhardt.

TheLamb's Theatre revival ran from June 12 through December 31, 1988. It was directed byDon Scardino, withSteven M. Alper as musical director andDoug Besterman as assistant musical director, and with new musical arrangements bySteven M. Alper andDoug Besterman. Costumes were by David C. Woolard, lighting was by Phil Monat, and sound was by T. Richard Fitzgerald. The cast includedTrini Alvarado,Anne Bobby (credited as Anne Marie Bobby),Bill Damaschke,Laura Dean, Angel Jemmott,Eddie Korbich,Mia Korf,Robert McNeill,Harold Perrineau, (credited as Harold Perrineau Jr.), andJeffrey Steefel.

Godspell was revived off-Broadway at theYork Theatre from August 2 to October 7, 2000.^[30] Cast members includedShoshana Bean, Tim Cain, Catherine Cox, Will Erat,Barrett Foa, Lucia Giannetta,Capathia Jenkins,Chad Kimball,Leslie Kritzer and Eliseo Roman.

From September 29 to June 3, 2001, a production ofGodspell toured the United States and Canada. The production was directed by Stephen Schwartz's son Scott Schwartz, while the music was arranged by Alex Lacamoire.^[31] The cast included Todd Buonopane, Joseph J. Carney, Jessica Carter, Sharon Francis, Esteban Girón, Sarah Hubbard, Natalie Joy Johnson, Kevin Smith Kirkwood, Lauren Lebowitz, Sal Sabella, and Michael Yuen.^[32]

On 24–29 September atThe Palace Theatre, Manchester, and then until 1 December 2007 touring UK, played aGodspell production directed by Paul Kerryson and scored byStephen Schwartz. The cast includedRyan Molloy, Katy-Jo Howman,Stephen Gately, Tiffany Graves.^[33][34]

The first Broadway revival opened for previews on October 13, 2011, at theCircle in the Square Theatre, and officially opened on November 7, 2011, to mixed reviews. Theatre review aggregatorCurtain Critic gave the production a score of 63/100, based on the opinions of eighteen critics.^[35] The production featuredHunter Parrish, Wallace Smith,Anna Maria Perez de Tagle, Celisse Henderson,Telly Leung,George Salazar,Morgan James,Uzo Aduba, Nick Blaemire, andLindsay Mendez, and was directed by Daniel Goldstein, choreographed byChristopher Gattelli, and produced byKen Davenport. On April 17, 2012,Corbin Bleu took over the role of Jesus.^[36] The 2011 cast recording was released digitally on December 20, 2011, and in stores on January 31, 2012.^[37] The production closed on June 24, 2012.^[38]

2016 production ofGodspell in Brazil opened atTeatro das Artes, directed by Dagoberto Feliz. It received great reviews such as fromO Estado de São Paulo: "Best Off-Broadway from 2016". This production featuredLeonardo Miggiorin, Beto Sargentelli, Gabriela Medvedovski, Matheus Severo, Artur Volpi, Juliana Peppi, Rafael Pucca, Nathália Borges, Mariana Nunes, Fernanda Cascardo, Pri Esteves, Pedro Navarro e Adler Henrique.

Godspell became the first live show to be approved by theActors' Equity Association during theCOVID-19 pandemic. This production, which was performed in a tent in the Berkshire Theatre Group's parking lot, featured Nicholas Edwards, Tim Jones, Alex Getlin, Michael Wartella, Zach Williams, Dan Rosales, Brandon Lee, Emily Koch, Isabel Jordan, Najah Hetsberger and Kimberly Emmanuel. Instead of the standard opening to the show, which features the song, "Tower of Babble," the actors of the show shared how their lives were uniquely impacted by the pandemic. The show, which had the audience sitting ten feet away from the actors on stage (who were socially distanced themselves) required that every audience member wear a facial covering for the duration of the performance. This production brought up the possibility of more socially distanced theatrical productions in the future. The show ran from August 6, 2020, until September 20, 2020.^[39]

In November 2022, Godspell returned to the Spanish stage with a new production directed byEmilio Aragón (brother of the 1974 player Rita Aragón) and produced byAntonio Banderas, in collaboration withTeatro del Soho CaixaBank and Estudio Caribe. The show opened on November 3, 2022, at the Teatro del Soho in Malaga and ran until January 8, 2023, with a total of 71 performances. In 2023, Concord Theatricals Recordings releases the Spanish cast recording. The album is available on digital platforms and in physical format.[1]The choral music follows the more complex 2012 version.^[40]One of the changes introduced by Emilio Aragón was arumba flamenca for the parable of the Good Samaritan.^[41]The play was recommended by thebishop of MálagaJosé Antonio Satué.^[27]

Part ofMusic Theatre International's Broadway Junior series,Godspell Junior is a revised script to be performed by a younger cast.Godspell Junior contains much of the first act and very little of the second. In the hour-long one-act show, four songs are cut: "Turn Back, O Man", "Alas for You", "By My Side", and "On the Willows". "Beautiful City" with updated lyrics is a part of the show, placed at the beginning of the second act, and is immediately followed by the Last Supper, the Betrayal, and the Crucifixion.^[42]

Afilm version of the musical was released in 1973, set in modernNew York and featuringVictor Garber (from the first Canadian cast) asJesus,David Haskell (from the original cast) asJohn the Baptist/Judas, andLynne Thigpen. Tebelak co-wrote thescreenplay and served ascreative consultant for the film. The song "Beautiful City" was written for and first included in the film. "Prologue: Tower Of Babel" was omitted, and "Learn Your Lessons Well" and "We Beseech Thee" were reduced to minor interludes. Original cast members Robin Lamont,Gilmer McCormick, Joanne Jonas, andJeffrey Mylett also appear in the film.

Thehippie clothing that the cast wears in the play has caused some controversy. In his "Notes on the Script" (1999), Stephen Schwartz wrote, "There are often misconceptions about the concept of the clown analogy inGodspell. For instance, sometimes cast members are thought to be 'hippies' or 'flower children'. The concept was derived by John-Michael Tebelak from a book byHarvey Cox, a professor atHarvard Divinity School, entitledFeast of Fools."^[43]

There has also been controversy overGodspell's lack of any obvious depiction of theresurrection of Jesus. This notably mirrors similar criticism leveled at the 1970 rock operaJesus Christ Superstar which also did not directly allude to the resurrection. Rather than depicting the resurrection, the "Finale" ofGodspell portrays Jesus dying; to end the show, the cast is typically directed to walk off through the audience, carrying his body above their heads. Schwartz has noted in theMusic Theatre International script that the moment when the body of Jesus is raised aloft in the finale (at which moment the cast sings "Prepare Ye"), or the curtain call where all, including Jesus, return to the stage, can be viewed as symbolic representations of the resurrection. While Schwartz agrees either interpretation is valid, he argues that showing the event of a resurrection is tangential to the point of the musical: The fate of Jesus himself is not the main thrust ofGodspell, but is rather the changes he wrought on the community of his followers. Schwartz said:^[44][45]

Over the years, there has been comment from some about the lack of an apparent Resurrection in the show. Some choose to view the curtain call, in which Jesus appears, as symbolic of the resurrection; others point to the moment when the cast raise Jesus above their heads. While either view is valid, both miss the point.Godspell is about the formation of a community which carries on Jesus' teachings after he has gone. In other words, it is the effect Jesus has on theothers which is the story of the show, not whether or not he himself is resurrected. Therefore, it is very important at the end of the show that it be clear that theothers have come through the violence and pain of the crucifixion sequence and leave with a joyful determination to carry on the ideas and feelings they have learned during the course of the show.

Godspell was a successful production that began to break down the barriers between rock and roll and Christianity, much likeJesus Christ Superstar. Despite this, the evangelical community were, on the whole, disapproving of the genre's perceived irreverent tone, and its neglect of central religious doctrine such as the resurrection andChrist's atonement.^[46]: 30

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• Godspell on MusicalSchwartz.com (cast album details, lyrics, history, stories from Stephen Schwartz)
• Godspell on Internet Broadway Database
• Godspell plot and production information at guidetomusicaltheatre.com
• Godspell onMusic Theatre International
• Script notes forGodspell
• Directors' notes forGodspell
• Godspellmusical.com
• Godspell on La MaMa Archives Digital Collections

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