Dramaturgical Notes

Godspell was born of collaboration and a desire to spread a joyful message, thus John-Michael Tebelak began writing Godspell for his master's thesis at Carnegie Mellon. According to Carol de Giere's The Godspell Experience (2014), "... his plan was to reapproach the Biblical parables and texts with the innocence of a child, and to play with the material as if it was a school recess. The cast was encouraged to experiment and play with the text- to make it their own, and bring life to the words."

In order to transform this experimental work, new music was a must. Stephen Schwartz, a fellow Carnegie Mellon graduate, was asked to join the team and compose a new score for the show in just five weeks. It opened on Broadway at the Broadhurst Theatre in 1976, and toured internationally throughout the rest of the decade.

The creation of Godspell was driven by young artists, specifically college students, who had grown up in the midst of the cultural revolution of the 1960s. Influenced by the Civil Rights Movement, the Second Wave of Feminism, and other countercultures aimed at questioning authority and fighting for freedom, Godspell was radical. This creates the most brilliant aspect of the show, which is its ability to be relevant to any time or place in which it is staged.

Godspell was hit in large part because it showcases the voices of a new generation. "It was a time when the so-called 'generation gap' caused confusion and lack of trust between young people and older adults," (de Giere 263). Today, this generational gap is more prevalent than ever, with the next generation set to be the most diverse generation in body and mind. When the show was revived in 2011, one of the main reasons cited for said revival was the divisive political and social climate in the nation. What better way to address the divide amongst the population than with a musical about love, community, and connection?

In an era of uncertainty and isolation, Godspell's message of hope and unity has never been more relevant.