1. Welcome to something different.You are about to experience a performance unlike anything you’ve
seen before. While most theatrical performances use a linear plot to
present a story to the audience, Godspell uses a variety of performing
arts techniques to draw together a group of ordinary people into a
meaningful community.
In a literal sense, Godspell is contemporary presentation of the lifeIn a literal sense, Godspell is contemporary presentation of the life
of Jesus Christ and His followers. The script by John-­Michael Tebelak is
taken almost entirely from the Book of Matthew in the Bible, and the
soft-­rock score by Stephen Schwartz has lyrics from hymns and psalms.
During his time on earth, Jesus used parables-­ instructive stories-­ in
order to translate complex philosophical ideas into stories that were re-­
latable and easy to understand. In Godspell the character of Jesus does
the same thing, but the parables are updated for modern audiences. Thethe same thing, but the parables are updated for modern audiences. The
show uses the original text of the Bible, but relates it to pop culture ref-­
erences and modern slang that is familiar to people. The parables are
presented in a variety of modern ways: sketch comedy, rap and improv,
to name a few. Though the parable presentations are fun and interesting,
they are still attempting to define a moral code.
At the beginning of the show, John the Baptist arrives amidst the
bustling background of a backstage theatre. The people there are diverse
yet average, disconnected, and searching for something. Not only do they
represent Jesus’ disciples who are brought together and called to follow
Him, but they also represent the audience members, who are called to
come along for the ride and experience the show. When His followers
change from their drab clothes into their new, colorful outfits, they are
signifying that they are setting themselves apart from what the worldsignifying that they are setting themselves apart from what the world
deems as “normal,” and they are now living by God’s standards. Each of
their shirts represent a “fruit of the spirit,” a biblical attribute that is rep-­
resentative of their character. When Jesus paints His followers' faces, he
is recognizing that they are unique individuals taking separate parts in
His community. Eventually, the others will come to a point where they no
longer need this visual reminder to know that they have engaged
themselves in the family of Christ.
Each disciple will individually commit to Jesus over the course ofEach disciple will individually commit to Jesus over the course of
the show, through their own song that they sing with the group. But over
the course of the show, it becomes obvious that Judas has difficulty in
committing himself to Jesus’ teachings. His character helps us remember
that Judas was a loved, important part of the group prior to the betray-­
al; on a larger scale, it helps us remember that most “villains” have a
story that is more complex than their worst deed. The inner conflict
within Judas, and the grief that results from his decision, shows us thatwithin Judas, and the grief that results from his decision, shows us that
even the tightest communities can experience crippling loss. But Jesus’
promise allows us to celebrate our salvation and continue His work.

2. Kitsap Children’s Musical Theatre
Kerby Criss-­ Executive Director Steve Criss-­ V.P. Theatre Operation
Presents
GODSPELLConceived and Originally Directed by John-­Michael Tebelak
Music and New Lyrics by Stephen Schwartz
Originally Produced on the New York Stage by Originally Produced on the New York Stage by
Edgar Lansbury / Stuart Duncan / Joseph Beruh
Directed by Terry McAuley
Choreography by Havilah Criss, Scott Breitbarth, and Cole Zieser
Godspell is presented through special arrangement with Music Theatre International.
MUSICAL NUMBERS
Act I
“Prepare Ye”............................................................................John & Company“Prepare Ye”............................................................................John & Company
“Save the People”..............................................................Jesus & Company
“Day by Day”.....................................................................Havilah & Company
“Learn Your Lessons Well”.........................................Lauren & Company
“Bless the Lord”..............................................................Christie & Company
“All For the Best”..............................................Jesus, Judas, & Company
“All Good Gifts”......................................................................Cole & Company
“Light of the World”......................................................William & Company“Light of the World”......................................................William & Company
INTERMISSION
Act II
“Turn Back, O Man”.............................................................Kelli & Company
“Alas For You”...................................................................................................Jesus
“By My Side”.....................................................................Carolyn & Company
“We Beseech Thee”............................................................John & Company
“Beautiful City”...................................................................................................Jesus“Beautiful City”...................................................................................................Jesus
“On the Willows”...............................................................Judas & the Band
“Finale”.......................................................................................Jesus & Company
Choreography
Havilah Criss: Day by Day, Light of the World, Turn Back O Man, Finale
Scott Breitbarth: Prepare Ye, Save the People, All For the Best, By My
Side, We Beseech Thee
Cole Zieser:Cole Zieser: Learn Your Lessons Well, Bless the Lord, All Good Gifts
STAFF
DIRECTORS
Executive Director Kerby Criss
Production Director Terry McAuley
Assistant Director Kelli Kirkman
Production Manager Lauren Wolbaum
Choreography DirectorChoreography Director Hava Criss
Choreographer Assistants Scott Breitbarth, Cole Zieser
Music Director Susan Peters
Vocal Director Kelli Kirkman
DESIGNERS
Set Designer Scott Breitbarth
Carpenters Larry Wolbaum
Costume DesignerCostume Designer Heather Barrett
Prop Designer Lauren Wolbaum
Prop Manager Laura Callender
TECH CREW
Tech Director Eli Criss
Body Mic Manager Jennifer Hunter
Body Mic Staff Danielle Bradford, Hailey Hunter,
Shannon Janssen, Julie PennoyerShannon Janssen, Julie Pennoyer
Lighting Designer Gillian Gregory
Spotlights Roger Criss, Sirena McKinley
Stage Crew Emily Anderson, Josh Staker
Move-­In Manager Larry Wolbaum
FACILITIES
Facilities Manager Karen Trostad
Lobby ManagerLobby Manager Angela Wolbaum
Concessions JoAnn Fitch
Ushers Shannon Bossom, Annie Sutherland
Box Office Managers Ryan Black, Jane Teller
MARKETING
Marketing Director Lauren Wolbaum
Photography Madison Eddy
Poster DesignPoster Design Lauren Wolbaum
Program Design Lauren Wolbaum
Website Victoria Miller
BOARD OF DIRECTORS
Executive Director Kerby Criss
President Gene Johnson
Treasurer Greg Salo
SecretarySecretary Gillian Gregory
V.P. Theatre Operations Steve Criss
Members at Large: Laurie Adams, Tim Adams, Ryan Black,
Rebekah Davidson, Stuart Davidson, Aaron Logdahl. Roz Owen, Chris Price,
Dierdre Prince, Debbie Sorensen, Katie Staker, Lindsey Still