Poster Design by Pam Roberts

A Decade After Godspell by Sue Gettum

This summer marks the 10th anniversary of the TAOS (Theatre at Old South) production of Godspell, directed by Marcus Walker. First of all, I can only scratch my head and wonder how 10 years has passed so quickly. Friendships that were formed and solidified during the rehearsals and performances seem like they have been in my life forever.

It was an amazing summer. I happily turned 30 on the opening night of the show. (Yes, I am aware of what a 10 year anniversary of that milestone means!) I got to sing a vampy torch song to unsuspecting men in the audience. I didn't have any of the aches and pains that plague me these days. Life was good! But, like all the glorious aspects of life at Old South Church, it isn't always about ME! The collective experience created the phenomenon that still has us buzzing and reminiscing a decade down the road.

Sue does some on her best vamping on unsuspecting male audience members.

When I think of my life at OSC and my intense immersion into TAOS, there is one word that always pops into my mind _ PRIVILEGE. The dictionary offers the following: a right granted as a peculiar benefit, advantage, or favor. I always felt privileged, blessed and honored to be a part of any TAOS production, but in particular, Godspell. It is a privilege to worship in a welcoming environment that embraces all talents of its congregation. It is a privilege to have TAOS available for both thought-provoking and slightly whimsical productions alike. It is a privilege to express my gratitude to God for the talents given to me and those who surround me in this particular manner. One should never forget the generosity that Old South extends to TAOS, not only in the physical space in which we can perform but in the financial, spiritual and artistic support given as well. It is simply, a privilege to be here as a former co-chair, actor and director to reminisce and reflect.

After living in New York City for the past 5 years and occasionally working professionally as an actor, I have learned to appreciate what OSC and TAOS offers. It was an interesting process to go from big fish in little pond to a little fish in a really big pond _ both in my "day job" and as an actor. So many of my actor friends here in New York are walking resumes, always hawking themselves for future opportunities. The selling of oneself as an actor in New York is an amazing thing to watch, although it does at times sadden me. But, I would venture to guess that if you would ask any of the more than 25 performers, 6 musicians, and 20 crew/staff who touched Godspell exactly why they chose to become involved in that particular production, no one would answer that they saw it as a step to further their own careers in the theatre towards becoming a star! (Of course, I am sure many of us found ourselves suddenly involved in the show due to the powerful persuasion tactics that were employed by our fair-haired director!) There was a passion behind each performance, like no other I have ever experienced. We were there because we wanted to be there, no _ because we HAD to be there! Despite the humidity and heat, sweating through costumes and exhaustion from leading a duel life ("real" jobs during the days with evenings spent in Mary Norton Hall rehearsing, performing or building sets), we all were driven to be a part of this rewarding monster of a show.

The first musical that TAOS presented became the criteria by which it still lives up to today. Although the experience can never be completely recreated, it can be fondly remembered in a way that benefits life day by day (no pun intended). The message of the show, based on the Gospel according to St. Matthew, still rings in my ears periodically. I am reminded of the parables, beatitudes and other lessons regularly _ always in the form they were mentioned in the script. While it is true that I almost always have a song in my head, the tunes from this show tend to make regular appearances, as well! So, let us take a moment and look back to that summer a decade ago and where our paths have brought us hence. Some have the blessings of spouses/partners and perhaps children, some hold jobs that we never imagined we could handle (let alone excel in), some still search for that soul mate out there -- but we all draw upon that collective experience of Godspell even in the most subconscious ways. To all the cast and crew of that show, I can only say "thank you" for an outstanding summer. Believe me, working and playing with ALL of you was a true privilege! +

"Crucify Her! Crucify Her!

* TAOS' Godspell featured a female Jesus (played by Jennifer Gasser) a startling choice for some that actually had a few of our more conservative brethren walking out on the show before the curtain even came up.

* The production staging centered around "Max's Newstand", marking its 62nd year at the corner of Dartmouth & Boylston.

* It was Director Marc Walkers' last show which brought a lot of emotion to the show as he was instrumental in getting TAOS off the ground in the first place.

* It was the very first musical done by TAOS, which now tries to do one a year.

* TAOS's friendly-style auditions had prospective cast members doing funky "improv" games & singing Happy Birthday!!

* To help publicize the event, the cast even did a free shortened performance on Copley Square.

* No matter how awful a rehearsal went or what went wrong with a staging or stunt, Cal could always be counted on to say, "I think things are going really well, don't you???"

* Word of mouth quickly spread about the production such that despite extra seats being added, and despite the stifling heat in the hall, many of shows were SRO, standing room only.

* It was so hot that summer that Cal "Judas" Genzel sweated though his suede vest!

* Because the band was placed behind the curtains at the back of the stage they had no view of what was going on stage and could only rely on listening of the song cues given by the actors.

* One show, Leslie Frank, mixed up the verses in her song, "Light of the World" — later claiming she did so on purpose "to liven everyone up!"

* The productions features a number of the parables played as updated skits. The "Prodigal Son" rendition spoofed a current telephone TV ad which lifted the parable story, with the Father (disciple Evan Shu) saying at the end, "Call him, Luke!" The party welcoming the wayward son home became a conga line singing the familiar travelog jingle, "Aruba, Jamaica, oh I'm going to take you . . . "

* Each disciple had his or her own gesturing "sign" as well as his/her own face "logo" that was painted on the cheek during the Last Supper communions scene as "Jesus" went around the circle saying good-bye to each disciple. "When she and I faced each other, we reprised our "Day by Day" gesture" says Julia Cheng, "One finger, two fingers, three fingers — to see thee more clearly, love thee more dearly, follow thee more nearly — and then a clasping of hands. This last time, when we locked eyes a fingers, a single tear spilled out and ran down her face."

* Scott McInturff, lost one of his contacts during Kristy Klein's song "O Bless the Lord". . . he found it & stuck it in his mouth for safekeeping -- never missing a step!

* The TAOS production added it's own Epilogue scene, where the resurrected Jesus returns "on the road to Emmaeus", and the whole cast reunites wearing their own handpainted yellow "Superman" T-shirts.

* A private joke among the cast was that the "betrayal" kiss between Cal's Judas and Jennifer Jesus got longer and longer with each show.

*As serious and moving was the actual production, in contrast, the cast members got together to do a hilarious videotaped spoof of the whole thing that included: Jennifer Jesus being "stapled" to the cross, Cal Judas being so drenched in sweat that he had to wear a snorkeling mask, and the cast bidding good-bye to Marcus with the "Aruba-Jamaica song" singing instead, "Seattle, Tacoma, they've got lots of cattle . . . "

* Jennifer "Jesus" went on some years later to direct Godspell herself at the Hancock church in Lexington (with Elizabeth Tustian doing the sets.)

* The slogan, "Long Live Godspell" became truer to the cast and crew and to many who saw this production they ever could have imagined.

"It's All for the Best" with Jennifer Jesus and Judas Cal

The Director Reminisces
by Marcus Walker

The director's viewpoint of Godspell has been skewed from the beginning. Sue Gettum may remember that my ego fought doing it at Old South for a long time because I felt it was the default musical for any church group. Once we committed however it became a passion especially to try and find a fresh approach unique to Old South's time and place. Of course, that we did. I remember the day we were set to stage the opening sequence "the street scene — joggers, street people, business suits etc.", I was nervous that we'd just have a jumbled mess with confused communication and misunderstood direction. But I was amazed at that evening's rehearsal how everything went so smoothly and the opening number became my favorite.

But back to the director's viewpoint. The show was rehearsed and then it opened. Once it opened there was nothing for the director to do. So I became the sound guy. Partly because we needed one and partly because I didn't want to let go.

That was the real experience. Watching the show take on a life of it's own through the run. All the voices grew so the music knocked my socks off. Evan's [Shu] number blew me away and I was so impressed with Scott [McInturff] as he blossomed over the run. I can't remember if it happened during a show, but I loved seeing in later photos that Jennifer's Jesus performed the ultimate Timex torture test as she wore her watch through the crucifixion.

And of course the languid excitement in the room when Sue started strutting "Turn Back O Man'.

I loved each run-through and performance watching Cal in the back of the house ready to slam a garbage can into the floor to make the huge "bang" before the kiss of betrayal. I remember trying to figure out why everyone was saying "butter beans" back-stage. I remember loud run-throughs with Reuben, then a 7-month-old baby, sleeping peacefully in his port-a-crib behind me.

And I remember strike. Catching sight of Jennifer sadly stripping duct-tape off an electrical cord. All of us looking at a blank stage where so much magic and fun had been created. It's amazing to me how certain spaces like Mary Norton Hall stay serenely the same, yet our rushing fragile lives never come to full-stop and today's magic is tomorrow's memory.