Godspell's Prodigal Son play: Merrell, Jerry, and Jeffrey |
As noted in the last post, the action group moves
to Cherry Lane Theater, the off-Broadway location where the play became a
success. This theater is the setting for the narration and acting out of the
parable of the Prodigal Son.
Jesus plays the piano, and the enactment of the Prodigal
Son vaudeville-like parable/play incorporates the mode of silent films in
theaters, and it also includes clips of silent films to illustrate various
scenes of the parable.
Jesus begins the narration, in comic voice, and others
in the group, often in comic voices, take turns narrating the story: Lynne,
Joanne, Robin, and Katie. Merrell plays the role of the younger son, Jeffrey the
older son, Jerry the father, and Judas the servant who informs the older son of
the party for the returning younger son. Various scenes from silent films are
interspersed throughout the narration and enactment of the parable; these clips
are often humorous (e.g., when the prodigal returns home, the film clip shows a
man riding a camel down a flight of steps and then a man apparently running on
top of water) and include famous actors from the silent era, such as Buster
Keaton and Charlie Chaplain. These clips are shown after almost every key line,
and sometimes the characters act out the parable in concert with scenes from
these silent films.
Unlike the parable, but similar to other
interpretations of the parable over the centuries, the reception in Godspell provides a completely happy
ending to this parable. Initially, the older brother refuses to come inside the
house and join the celebration of his brother’s return. The father,
however—Jerry, who is dressed in a huge cowboy hat and speaks with an
exaggerated “Western” accent—walks across the stage to speak with his older
son:
Jerry: My boy . . . You have
always been with me, and everything I have is yours. Now could we help but celebrate on this happy
day, for your brother here was dead and has come back to life—metaphorically
speaking. Was lost and he’s found.
As he is speaking, Jerry brings Jeffrey across
the stage to meet Merrell. The boys initially refuse even to look at each other
and turn away. Jerry then looks at Jesus, who nods at him. Jerry then comically
knocks the boys’ heads together; they fall to their knees and then hug, as
their father says, “Them’s my boys.” The scene ends with the whole group
cheering and applauding enthusiastically the complete restoration of community
within the family.
Once again, all are restored to fellowship.
The film immediately relocates the cast on a
pier, where the group boards a boat and sings, “You are the light of the
World,” and where they encourage each other to be the light of the world, the
salt of the earth, and be the “City of God.” The goal, as we have seen over and
over gain, is kindness:
So let your light so
shine before men
Let your light so shine
So that the might know
kindness again
. . .
You gotta live right to
be the light of the world (score 86-90).
It is only after this scene, more than an hour
into the film, that Jesus encounters opposition (in the form of large robot who
represents the Pharisees and the doctors of the law, but which is manned by his
disciples). Jesus says, “This is the beginning,” and the “Passion narrative” in
Godspell begins. It consists of less
than thirty minutes of the film.
Godspell is distinctive among
Jesus films because it eschews miracles—there is only one represented, and it
is presented not as a real miracle (one disciples puts a small branch into an
empty pot and watches as Jesus waters it; when she is not looking, another
disciple replaces the small branch with a larger one, and the first disciple
mistakes it for a miracle of growth).
The film also is distinctive because it incorporates
the parables so deeply into the narrative of Jesus’s life and teachings. Jesus
is the proclaimer and bringer of the kingdom of God, which is found within the
community formed around him. This community, however, grows and develops
outside of any interactions with other people, except for the robot that
symbolizes the opposition to Jesus and the police cars that drive up near the end
of the film right before Jesus’s death. And at the end, the community
apparently vanishes as New York City comes back to life at the end of the film
with crowds once again filling the streets, leaving the question of the harvest
in the parable of the Sower unanswered.
Many argue that Godspell domesticates both the message of Jesus and Jesus’s life
(such domestication is often found in interpreters of Jesus and his parables
over the centuries). Others ask, however, whether Godspell also ultimately domesticates the counterculture in the
United States in the 1960s (see Walsh 2003: 74).
Are you a fan of the 1973 movie "Godspell"? Well, if so, then I'd like to suggest that you should upload some of the following parables that nobody has seen on YouTube:
ReplyDelete1. You Are The Light Of The World
2. Sheep & Goats
3. The Parable Of The Prodigal Son
4. Temptation
5. The Parable Of The Two Sons
6. Pharisee & Publican
7. Giving Alms
8. Rich Man & Lazarus
9. Lamp For The Body
10. Ask, Seek, & Knock
11. Gethsemane
12. Taxes To Caesar
13. Betrayal Of Judas
14. Eye For An Eye
15. The Last Supper
16. Serving Two Masters
17. Jesus's Arrest
Thanks!
Sweet Lady
P.S.
Please Reply.
I'm sorry, but I can't because of copyright restrictions. I wrote this post and the section in my book that covers the songs/sections in the movie devoted to the parables based on a dvd I checked out from Emory University's media library.
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