Timely revival makes up in spirit for what it lacks in polish.

Playhouse, Sydney Opera House
February 10, 2016

The early 1970s saw two musicals break new ground while exploring a common and controversial theme: Andrew Lloyd Webber’s Jesus Christ Superstar and John-Michael Tebelak and Stephen Schwartz’s Godspell.

More rock oratorio than opera, Superstar was an active scenic dramatisation of the last days of the Messiah, the characters occasionally clashing (most notably in the thrilling trial scene) but more often soliloquising in song. With a focus on the political ramifications of a challenge to religious order, its ongoing contemporary relevance means it has easily held its place in the repertoire.

Godspell was a more complex concept. Taking its ideas from Brecht, street theatre and commedia, it was more dramatically passive, seeking to explore the main ethical themes of Matthew’s gospel through semi-comical retelling of the parables before moving on to the serious matter of the crucifixion.

Its catchy pop score of the period caught the musical imagination, while its cry for redemption from whatever authoritarian malaise was currently afflicting society (Vietnam, ‘80s fiscal greed, climate change – take your pick) has given it an immediate appeal for the young and disillusioned. Its...