Talent to Spare:

What is undeniable is the work done by every one of the ten actors on the wide, compartmentalized stage (wonderfully designed by Randall Parsons) and the creative talent that gives them their focal identities. Each space matches its occupant right down to the sexy beanbag chair occupied by Michael Wartella. The angtled plexi-glass walls on the moveable units help to confine each player in their socially distanced spots and the show opens with each player confessing his or her history within and without the Covid era. Why they are here is their topic and why they are here this August is the subject of the show. Each one, within their roles, plays out their history and attitude to perfection. That takes talent. Wartella, a Pittsfied native, unable to continue his growing Broadway career, is appreciating all good gifts in this Berkshire world and setting himself on the road to seeing the light of the world on a rural tented stage in a parking lot. It is not what he deserves at this point but unlike a mere 30,000 out-of-work professional actors he has a job. He shows us the complexity of knowledge and achievement with his performance.

Brandon Lee, a general understudy in this show, played the part usually played by Zach Williams and he was a standout in this excellent company. His musical numbers were strong, and his comments on the action had clarity and humor. He has the most expressive hands in this group of talents and it was, frankly, a joy and a thrill to watch him present his honest emotional side through his use of them. I hope he gets to play this role again and again. Audiences deserve to see him.

In the program two performers bear character names: Judas and Jesus. Judas is played by Tim Jones and Jesus by Nicholas Edwards. Jones is very good, often lurking in his upstage left box, a sneer on his lips that emerges occasionally but is never intrusive. The two men do an old-fashioned straw hat and cane duet in act one that is a delight (choreographed to historic perfection by Gerry McIntyre). In the box next to Jones sits Dan Rosales who could be the least intrusive player I've ever seen until he has his biggest moment in the song "We Beseech Thee" which simply blew me away. Talk about talent under a rock, Rosales shows us what that actually means. 

As Jesus, Nicholas Edwards shines making every famous biblical quote he spouts into something very, very new. He sings, he dances, he has a smile that can reach out and hold you. Most often dominating center stage, he is an actor who deserves that place.

Director Alan Filderman, ably assisted by lighting designer Matthew Adelson, has created an entirely new experience called "Godspell." It is not the show I remembered. It is a living entity that crawls into your brain and your soul. The way this show works is nothing short of genius: talent and genius. Talent brightens a Covid world and turns it into a hopeful place.

Live theater is back, folks, and it feels so good. "All good gifts" indeed. Godspell 2020. It's here and its ours.

### 08/11/2020  ###