Ask director Tim Threlfall what concept drives all aspects of the BYU Department of Theatre and Media Arts production of Godspell and he will simply say, “The Jesus of Godspell is my friend.”  The pop rock musical, originally a project by drama students at Carnegie Mellon University that moved to open off-Broadway in 1971, went on to become a long-running success, adapted to film, and performed world-wide.

Threlfall’s show, the 2012 revision based on the 2011 Broadway revival, recently closed its nearly 3-week run in the BYU West Campus Mainstage Theatre. The performance drew the audience into a contemporary experience with the four gospels, full of youthful enthusiasm, brilliant sound, exuberant choreography, and familiar characters, all of whom full-heartedly sang and danced the good news of the gospel.

The show was over a year from proposal to audition to performance. Perhaps not as familiar a telling of the parables contained in Matthew, Godspell gives the viewer the gift of experiencing a beloved narrative in a fully sensate way.  Tim’s production objective for Godspell was “to facilitate the maximum number of audience members having an uplifting and potentially spiritual experience during the performance of Godspell.”  And he knew that many potential audience members might be challenged to experience a fully human Jesus on the stage.

In proposing the production of Godspell, Tim invited the production team/cast “to explore and present the Book of Matthew story in such a way that nothing in our presentation will so alienate audience members that the beauty and the celebration of Godspell would be lost to them. While achieving this goal 100% is truly impossible…I want us all to strive for this objective in every way we can. For our Latter-day Saint audience, we need an additional measure of ‘respect’ for the character of Jesus…especially in Act One.  Eliminating the traditional Superman T-Shirt and clown makeup will take us a significant way in that direction. The Jesus we meet in Act One is the more ‘human’ Jesus. He is playful and warm with his disciples as he creates a ‘family’ and a community among them. He laughs with them a great deal in Act One. THE JESUS OF GODSPELL IS MY FRIEND!”

He continued, “In Act Two, we see perhaps a more ‘familiar’ Jesus as his ministry is coming to a close and he is more direct and even firm at times with his disciples.  The Act Two Jesus is, the Savior of the world.  Act Two is far less playful as the gravitas of the betrayal, the last supper and the crucifixion are anticipated and enacted. The more ‘human’ Jesus of Act One gives way to the Savior as a member of the Godhead in Act Two.”

Three Biblical scriptures informed Threlfall’s directorial perspective: Psalms 98:4: “Make a joyful noise unto the Lord, all the earth make a loud noise, and rejoice, and sing praise.”

The 2011 Broadway revival at Circle in the Square debuted an updated libretto including current events as well as updated vocal arrangements that give the original hit-melodies robust and more challenging mix/belt/rock sounds and featured solos. The BYU cast’s ensemble sound was strong and well-blended although it must be noted that the female vocalists were a force enough to ‘knock you in the aisles’ (thanks Fred Astaire.) Providing the musical through line of the show, the 5 musicians housed upstage in a run-down school structure with windows facing the stage, wove a matrix of joyous noise with acoustic and electric guitar, keyboard, mandolin, bells, guiro, maracas and sakers, siren and slide whistle, tambourine, triangle and wood block. As an audience member I was drawn in and fully embraced the embodied praise singing and dancing. But then, full disclosure, my Jesus is a dancing Jesus.

The production set reflected the second scriptural frame, Matthew 18:3: “Verily I say unto you, except ye be converted, and become as little children, ye shall not enter the kingdom of heaven.” The thrust stage was transformed into an abandoned, gritty, crumbling graffiti-covered inner-city school and its playground. The foremost part of the set was a playground, framed with chain-link fence and barbed wire, with swings, slides, merry-go-round, a Jungle Jim and other play equipment that, through stage magic, appeared to be in danger of falling apart. According to Threlfall, “this setting represents the fallen ‘world’ in which the Savior often functioned. He took the gospel to the poor and the poor in spirit. He was not afraid to get his hands dirty. He associated with Samaritans, publicans and sinners.” Interactions between the characters were often child-like and playful, full of innocence and enthusiasm. According to Threlfall, such youthful ebullience is central to Godspell.

1 John 4:14 provided the final and consummate scriptural context: “And we have seen and do testify that the Father sent the Son to be the Savior of the world.”  In his production proposal, Threlfall noted: “Lack of redemption/resurrection in Godspell I believe is one of just a few issues that has made it less appealing to LDS audiences when it really should be right up there with Joseph, Fiddler and Les Mis. However, not written into the show is the resurrection of Christ. It ends with the crucifixion.” He further noted, “Stephen Schwartz mentions this fact but does not shut the door on adding a resurrection scene without adding words or music…and that is exactly what I intend to do.” The resurrection scene he added offered the hope of redemption and gave the narrative a faith-filled landing while remaining true to the script.

To provide integrity and resonance to the production, Threlfall asked himself, as he has done with countless other productions he has directed over his long and illustrious career, “What are the levels the show must function on?” For Godspell he identified the following five levels:

1. ROCK CONCERT MUSICAL first and foremost:  The music is the message.  The music must completely surround and envelope the audience at all times.

2. CELEBRATION MUSICAL: At the risk of ‘content-free enthusiasm’ the piece is celebratory a great deal, especially in Act One.  The “good news” of Christ’s message that upended the world must always be the impetus for the celebratory expression.

3. DANCE MUSICAL secondarily: Godspell is a dance musical not only for the actors but for the audience as well. The audience should feel like getting up and dancing through much of the show.  And we hope to give them a bit of opportunity to do just that. Also, finding moments to highlight every kind of dance possible from Breakdancing to Modern to Stepping, Ballroom, Jazz, Ballet, Tap, Soft shoe, Urban, etc. with the idea that everyone is welcome. All while GIVING A NOD TO TRADITIONAL DANCE OF DIFFERENT NATIONS.

4. FAMILY MUSICAL: Not only is the show suitable for families, the notion of ‘family’ is expanded and the disciples form a community or family with one another that is strong and abiding as well as diverse and inclusive.

5. VAUDEVILLEAN/AUDIENCE PARTICIPATION MUSICAL: In keeping with the “become as little children” theme, the show must be playful, filled with variety, always entertaining and INVOLVING THE AUDIENCE frequently.

Godspell is the last musical Tim Threlfall will direct at BYU as he recently announced his retirement. He has mentored many BYU Music Dance Theater students who have gone on to major roles in Broadway and touring productions. Pat Debenham, longtime colleague and friend of Tim shared the following thoughts about Tim’s legacy at BYU.

“Transformation has been a hallmark of Tim’s contribution to the Music Dance Theatre program at BYU.  As a fledging faculty member, with vision and acuity, along with colleagues Randy Boothe, Gayle Lockwood and Pat Debenham he helped move an already nationally recognized program into one that was competitive with the finest university programs in the nation.

His continued ongoing professional work as a director and actor outside the university gave Tim access to actors, directors and casting agents that he brought to campus to mentor students. This provided a window to the world beyond the campus and allowed them to see what was available to them once they graduated.   

Tim opened doors for students to walk through. Under his direction students were featured with their best work in New York City in a showcase designed specifically for agents. Most years agents offered representation to between five and ten students as a result of the showcase. This resulted in as many as fifteen students working professionally on Broadway, in regional theatres and in the entertainment industry at any given time.

A tireless drive for professionalism has motivated Tim’s career at BYU, both for the students and for himself.  A gifted, challenging and serious teacher/director/artist, Tim has led countless students to dig deep within themselves to find not only the essence of a role that they were enacting but to discover for themselves the essence of who they had the potential to become as people of faith who were entering an emotionally and spiritually challenging profession.

With sensitivity and care, Tim carefully guided students to develop skill that moved them beyond taking the direction he gave them to making it their own and fully embodying a character with honesty and clarity. “

Debenham concluded his reflection by saying, “Tim has never been nonchalant about the power of theatre to change people’s lives, either for actors or for audience members. His students know it and his directorial work both on and off campus attest to his commitment to theatre as an active verb not a noun. It’s rare in academia to find a professor who is both artist and teacher—Tim is incomparably both/and. His intellect and passion have driven him. His many attributes and skills, though not irreplaceable, in combination will be difficult to replicate. Programs come and go, leadership, direction and visions change. For decades under Tim’s direction the BYU Music Dance Theatre program enjoyed what could be considered “Camelot” years. Tim, once he does retire, will still continue to do whatever he pursues with intensity and vision. BYU was blessed to have his heart and soul for a season.” — Kathie Debenham