The set of this year’s winter musical production of Godspell has begun construction, providing a versatile and unique setting for the dynamic musical opening on Feb. 16.

The construction and planning is spearheaded by Director of Theater Operations Cole Frizzo, his second SLUH project following The Odd Couple. Acting teacher Kathryn Whitaker, the director of Godspell, has also played a significant role in the creative design.

Godspell follows a story loosely based on Jesus’s public ministry and parables, focusing on the community of disciples he builds. It provides much room for creative liberty by the individual director and actors, even when it comes to the story’s location and time period. Whitaker has given the play the setting of an urban, abandoned playground.

“(We’re) still maintaining the idea that the playwrights had initially, which is ‘theater of the poor,’ meaning that it’s not just about flashy lights and sets, but it comes from, ‘How are we going to make magic?’” said Whitaker. “So even though it’s not just a bare stage, we’re trying to keep that desolate, urban area.”

After an elaborate set for last year’s Addams Family, the set of Godspell brings a whole new level of ambition to the Schulte Theater: namely, in the form of a turntable and an orchestra perch. In the center of the stage lies a large, motor-powered, circular turntable, which will hold the central action of each scene and rotate during different parts of the production. The platform adds a new dimension to the onstage movement of Jesus and his followers.

“It'll look sort of otherworldly, like something that only God Himself could make happen,” said assistant stage manager junior Gino Stephens.

Secondly, the band accompanying each song of Godspell, conducted by Head of Campus Ministry Fr. Matthew Stewart SJ ’98,  will be visible onstage, perched on the periphery, rather than in the orchestra pit as for most theater productions. The onstage band contributes to the lighthearted and communal feel of the show, and band members may interact with cast members at various points throughout the onstage action.

“The band is going to be on an eight foot by eight foot platform,” said Frizzo. “(So) the sides are going to be pretty elevated, but still very much part of the production.”

“I think a lot of it has to do with just making cool scenery, because with (the band) up on perches, you can really see what the musicians are like … and they’ll also be wearing costumes. So they’ll just be a part of the community, because a lot about this play (is) just to bring a community together,” added Stephens.

Additionally, a swing set, among other “junkyard” objects that cast members will be able to hang from and stand on, will decorate the center-stage turntable. 

“The swing set is modular, so that there are two regular swings that will go on and off of it, a trapezist swing, and then we're adding handles for climbing,” explained Frizzo. “And then there's some other special things that are show-related that we're going to be doing with this, but I'm not going to say too much about that so that it doesn't ruin the surprise.”

In fact, as many of the musical’s scenes involve the characters acting out Jesus’s parables, much of the odd pieces of junk in the urban location will be used by characters to represent objects from the Gospel.

“For example, there's one scene where we have a king in it,” said Stephens. “And instead of wearing a crown, he'll wear a hubcap on his head.”

Outside the turntable, an industrial building backdrop will stand against the back wall of the stage, and urban fencing will encompass the outer edges of the scene. Dozens of rectangular risers shoot up at various heights next to the turntable on all sides, on which ensemble cast members will pose, dance, or participate in the scene action to provide different vertical levels for the large ensemble of 24 actors. Even with this massive ensemble size, the unnamed characters of the show play just as vital a role as any other cast member. In fact, all cast members remain on stage for the whole show, making the production a continuous surge of energy and ensuring different, unique uses of the dynamic set pieces throughout.

“Everybody is on stage at all times except for the opening, so it’s extremely interactive with all parts of the cast here,” said Stephens. “If you’re in the ensemble, you’re just as important as Jesus.”

Now that the set is nearly complete, the Dauphin Players are one step closer to bringing the dynamic Godspell to life.

“With how much they have to play with, I think that (the set)’s gonna add a lot to the storytelling, and also a huge factor is how (dance teacher Simonie Anzalone) and Mrs. Whitaker do all of their blocking in the choreography. And hopefully, the set will add to what they have as a foundation. Because it's all Mrs. Whitaker's vision right? Everybody's job is to aid that vision. So hopefully it does nothing but enhance the story,” said Frizzo.

“It’s fun,” said Whitaker. “We can’t wait to (start rehearsing on the set) and see what it teaches us about the play.”