Performances are executed with the youthful energy and humor that makes this personally one of my favorite musicals. The various songs, including “Day By Day” and “Light of the World,” feature vocals by all: Isabella Bardos, Emmy Bobenmoyer, Joey Brandenburg, Fender Brokamp, Rachel Bush, Jack Levine, Tatum Meadors, Morgan Rusbasan, Quincy Russell, Greta Shambarger, Owen Yeater and Quinn Yeater, as well as the two leads. I could guess who appears to me to represent Simon Peter or Mary Magdeline, but that’s beside the point.)Īs anyone familiar with this show, or the Gospel of Matthew, knows, we get a number of Christian Parables, including “The Good Samaritan” and “The Sower and the Seed,” told and enacted by various cast members – along with a couple of people momentarily pulled from the audience. (This is the only other named biblical figure, the others are given random modern names to keep them relatable. He gives the black ribbon to Lantzer, who from then on plays Judas. Jesus presents favors to each of the gathered disciples, in this case, ribbon pins. But first, John the Baptist (Nick Lantzer) must rally the kids together, his anointing represented by a bubble wand. Our setting is a well-stocked child’s playroom, with lots of toys, plushes, crafts, etc., to aid in the lessons our peer teacher, Jesus (Mason Yeater), has come to share. Carmel Community Players presents “Godspell” as its summer Rising Star Production with youths in all roles, directed by Tanya Haas, who notes she first performed the musical in high school. It is also an easy – and given its playful mood, appropriate – Broadway show to cast with teen and tween actors. As a theatre production, it has a degree of flexibility allowing for creative stagings and inserting modern references to allow audiences to relate to a story from around 30 AD nearly 2000 years later. I know this is vague advice, but there isn’t a clear career track to becoming a songwriter like there is for becoming a lawyer or a stockbroker.As a story of Jesus Christ, the 1971 musical “Godspell,” by John-Michael Tebelak with music and lyrics by Stephen Schwartz, goes beyond the traditional Passion Play to give the greater context of what in Jesus’ actions and teachings won him followers, then brought him to the events of the Crucifiction. 3) Begin trying to meet people who are in the business through workshops, parties, networking, etc. 2) Get yourself somewhere where people are in the business you want to be in–if it’s theatre, New York or maybe Chicago if it’s film or TV, Los Angeles if it’s the music business, Los Angeles or Nashville. Have work that you can show–a demo tape or CD, a sheaf of lyrics, a draft of a show–something. The lessons contained within this story are: 1) Write. Eventually, I met people who were interested and could help me. Once I had graduated and was pursuing writing for the theatre as a profession, I went to New York and began trying to get people to hear my work (specifically, I had written the show PIPPIN while I was in college and was showing that around). In my case, I had always wanted to be a composer I began being my own lyricist in college, because I couldn’t find people to write lyrics for my songs whose work I felt strongly enough about. Stephen Schwartz: I think everyone gets started slightly differently, but in the end, all the stories are essentially the same.
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