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Godspell in Concert

Cadogan Hall


Godspell in Concert

Cadogan Hall

Reviewed – 29th June 2019



“The youthful bias offered the huge plus point that the show was bursting with energy”


Godspell is a 1971 musical written by Stephen Schwartz. Based on a series of Bible parables, it has been revived countless times and seen by millions. A successful film version emerged in 1973, the same year that Andrew Lloyd Webber’s Jesus Christ Superstar also hit cinemas. Directed by Dean Johnson, this semi-staged version by the British Theatre Academy saw those popular songs performed by a huge ensemble of teenagers (representing a community of disciples) and a handful of West End and TV star guest singers. Their renditions were interspersed with scenes of the younger folk partially acting out the teachings of Jesus.

The youthful bias offered the huge plus point that the show was bursting with energy. But on the downside, some of the vocals were better than others and the sound was at times painfully shrill. There was no set to speak of, but visual interest came from the bright neon technicolour clothing (Day-Glo tops, tie-dyed T-shirts, rainbow-striped leggings) and sparkling accessories. A five-piece band (coordinated by musical director James Taylor) played with gutsy efficiency, but the sound was fairly muddy from where I sat (eight rows back).

Although the songwriting and the overall concept retained a very dated early-1970s feel, there were admirable attempts to modernise the material. For example, it was a nice touch that the show began with seven of the performers wielding mobile phones, texting and scrolling as they debated religious philosophy. A less successful contemporary element was the moment in which, if I’m not mistaken, a Donald Trump impersonator was condemned to Hell by a group of Mexicans he had wronged.

Jesus was surely one of the most charismatic men who ever lived. It’s difficult to reconcile that image with Luke Bayer’s slightly underwhelming figure reading out his lines from an iPad. There must have been an awful lot of lines to learn, it’s true, but you’d expect these words to emerge from deep within his soul rather than be cued by an interchangeable gadget anyone has access to. It eroded any sense of the commanding presence such a figure would exude.

The production also suffered from the lack of a narrative arc or any real emotional complexity. Despite ending with the crucifixion (and controversially not the resurrection), the bulk of the ‘story’ is just a series of simplistic preachings – lively, unrelated episodes that could have been delivered in any order without changing the overall effect. And the much-needed flashes of wit (a parable rendered as interpretative dance, children pretending to be goats and sheep) are little more than temporary diversions from an unrelenting sequence of moral lessons. How much you can take away from those lessons is a personal matter, of course, depending on your theological stance. But if you know the teaching of Jesus already, do you really need to hear them presented this way? And if you aren’t aware of them, is a loud rock/gospel musical the best way to take on board that guidance? Beyond the hordes of clearly delighted parents in the hall (enhancing the feel of a well-presented school play), I wasn’t sure who this show was intended for. Christians might consider it too flippant and irreverent. And non-Christians are unlikely to have the patience to sit through so much of the New Testament, however catchy songs such as ‘Day by Day’ might be. In 2019, religion is a divisive, often contentious business, so a more nuanced treatment of the topic would have been welcome.

The best parts were when they kept it low-key and immediate. When one of the performers rapped over a rhythm built from the ensemble’s perfectly coordinated claps and foot stomps, there were a few seconds of real dynamism. And there was an endearing interlude in which a member of the audience was brought on to the stage without warning, handed his lines on a prompt card and made to play the part of Lazarus.

No one can deny the sincerity and goodwill behind the production, nor the obvious vitality of the cast, but Godspell came across as a wearyingly one-dimensional affair. Sadly, it was very much a case of preaching to the converted.

Reviewed by Stephen Fall


Godspell in Concert

Cadogan Hall


Previously reviewed at this venue:
At Last: The Etta James Story | ★★★★ | October 2018
All You Need Is Love | ★★★★ | April 2019


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All-star West End cast announced for

The Color Purple –

in Concert


An all-star West End cast is announced today for a one night only concert version of The Color Purple at London’s Cadogan Hall on Sunday 21 May at 6.00pm.

The Color Purple tells the inspiring and unforgettable story of a woman who, through love, finds the strength to triumph over adversity and discover her unique voice in the world.

The Color Purple is being staged to raised funds for The British Theatre Academy, a unique performing arts programme that has inspired and nurtured the talent of thousands of young performers over the past 30 years. The concert will feature a chorus of over 40 current BTA participants.


The cast features:

Wendy Mae Brown (as Sofia) West End roles include Oda Mae Brown in the original cast of Ghost the Musical; Hattie in Kiss Me Kate; Serena in Porgy and Bess; Joanne in Rent.

Cavin Cornwall (Mister) Currently appearing in Disney’s Aladdin at the Prince Edward. He was Caiaphas in the recent Regent’s Park Open Air Theatre production of Jesus Christ Superstar. Other West End roles include Curtis Shanks in Sister Act; Crown in Porgy & Bess; Billy Flynn in Chicago.

Tyrone Huntley (Harpo) Currently appearing as C.C. White in Dreamgirls at the Savoy. He won the Emerging Talent Award at the Evening Standard Awards and has been nominated Best Actor in a Musical at this year’s Olivier Award for his Judas in Jesus Christ Superstar at Regent’s Park Open Air Theatre. He also appeared in the original London casts of Memphis and The Book of Mormon.

Rachel John (Shug) Recently returned from Toronto where she played the role of Nicki Marron in The Bodyguard, also in the West End. Other West End roles include Felicia in Memphis; The Lion King; Sister Act; three years as Meat in We Will Rock You. It has recently been announced that Rachel will play Angelica in the UK première of Hamilton.

Hugh Maynard (Pa) West End roles include John in the most recent revival of Miss Saigon (nominated Best Featured Actor in a New Production of a Musical in Broadway World Awards and Best Supporting Actor in a Musical in the WhatsOnStage Awards); Simba in The Lion King; Clopin in Notre Dame de Paris; Marvin Gaye in Dancing in the Streets; Sister Act. He recently became the first black performer in the UK to play the iconic role of Sweeney Todd.

Seyi Omooba (Nettie) Currently appearing in Headlong’s Junkyard at Bristol Old Vic. She received rave reviews as Sarah’s Friend in Ragtime at Charing Cross Theatre.

Marisha Wallace (Celie) The American star of Dreamgirls, she is currently the alternate Effie at the Savoy. Her Broadway shows include the original casts of Something Rotten! and Disney’s Aladdin.


Creative team:

Musical Director James Taylor
Choreographer Mykal Rand
Producer Matthew Chandler
Producer and Casting Director Danielle Tarento


The BTA is auditioning for young people to take part in The Color Purple. You can register at



A Charity Gala
for The British Theatre Academy

Sunday 21 May at 6.00pm


5 Sloane Terrace,


£75 (premium seats), £45, £32.50, £19.50


Box Office: 020 7730 4500



Based upon the novel by Alice Walker and the Warner Bros/Amblin Entertainment Motion Picture. The Color Purple was produced on Broadway at the Broadway Theater by Oprah Winfrey, Scott Sanders, Roy Furman, and Quincy Jones. The world premiere of The Color Purple was produced by the Alliance Theatre, Atlanta, Georgia.