Show-Biz Updates Infuse This ‘Godspell’

Power to the people and oy gevalt. “Godspell,” the quintessential 1970s Bible musical, is back, at the Alex Theatre in Glendale.

It’s back, and boy, is it dated. Stephen Schwartz wrote some big, open-hearted tunes to break up the Greatest Story Ever Told. Jesus comes to Earth to teach Bible parables, in this case, to nine urban dwellers (raising the question: Were three disciples let go?). In between parables, they sing the blessed songs, which, despite their happy-hippie brand of spiritualism, hold up as infectious even today.

Back in 1971, when “Godspell” opened off-Broadway, the sentiments onstage clearly reflected the movement of peace, love and understanding as interpreted by the hippies. Back then, it probably didn’t seem so corny when Jesus appeared and his acolytes flashed him beatific, knowing smiles and reached out their arms to his aura. Things have changed since then. Can you say cult?

That is not to say that director Glenn Casale does not make valiant attempts to update the material. “Godspell” always has told its Bible story in show-biz terms; Jesus and Judas sing one song as a vaudeville cane-and-hat number, for instance. Casale has updated his version by adding contemporary show-biz references, which come at a furious clip. Just to name some: rap, Joan Rivers, Rodney Dangerfield, “The Godfather,” Psychic Friends Hotline, “Into the Woods,” “On Golden Pond,” “Les Miserables,” Ethel Merman, Pink Floyd, “Forrest Gump,” Reebok, Valley girls, Whoopi Goldberg, “Babe,” Stevie Wonder, Jon Lovitz, “Stomp,” the Macarena and Bill Cosby’s recent TV resurrection.

The message, witting or unwitting, seems to be that fame is our most solid and universal religion.

As Jesus, James Barbour has a nice, mellow baritone. He sings a lovely number about building a better world, “Beautiful City” (from the movie version), very well. It’s hard not to appear goofy in this part, however, and Barbour does. Tall and lanky, he is laid-back and yet “on” in his denim overalls. It sometimes looks as though Ross from “Friends” has been named God.

Of all the familiar numbers, only one, “We Beseech Thee,” led by Gerry McIntyre, achieves true musical-comedy, high-voltage excitement. Patti Colombo’s musical staging is serviceable. John Iacovelli’s set of an urban iron landscape is sternly handsome.

The four-piece band sounded a little skimpy, but the Alex has corrected the egregious amplification of the past for this show, which goes on to Thousand Oaks Nov. 19.

At the end, dozens of kids in overalls come onstage to help sing the finale, a medley of “Godspell” hits, “Day by Day” among them. But even the little children, and dozens of new jokes, cannot rescue “Godspell” from community-theater purgatory.

* “Godspell,” Alex Theatre, 216 N. Brand Blvd., Glendale, (800) 233-3123; Probst Center, Thousand Oaks Civic Arts Plaza, 2100 E. Thousand Oaks Blvd., (805) 583-8700, (213) 480-3232, (714) 740-2000. Alex: Friday-Saturday, 8 p.m. Saturday-Sunday, 2 p.m., Sunday, 7 p.m. Probst: Nov. 19-24. Tuesday-Saturday, 8 p.m.; Sunday, 7 p.m.; Saturday-Sunday, 2 p.m. $32.50-$37.50. Running time: 2 hours, 15 minutes.

Starring: James Barbour. With: Eydie Alyson, Kevin Bailey, Julianne Grossman, Cleo King, Susan Jordan, Ron Kellum, Gerry McIntyre, Michael Paternostro, Laura Soltis.

M. Edleman presents a Theater League production. Based on the Gospel According to St. Matthew. Conceived and originally directed by John-Michael Tebelak. Music and new lyrics by Stephen Schwartz. Directed by Glenn Casale. Musical staging by Patti Colombo. Sets John Iacovelli. Lights Kim Killingsworth. Costumes Marcy Froehlich. Sound Mark Cowburn. Musical director Lloyd Cooper. Production stage manager Kim Vernace.