Stage Review - Godspell (inD Theatre)

Stage Review - Godspell
Presented By: inD Theatre - Bainbridge Island, WA
Show Run: October 10 - November 02, 2025
Date Reviewed: Saturday, October 11, 2025 (opening weekend)
Run Time: 1 Hour, 45 Minutes (inclusive of a 15-minute intermission)
Reviewed By: Greg Heilman

Godspell is one of those plays that requires a bit of theatrical limb independence. What I mean by that is that to critique the production, it requires a separation of the underlying religious content from the musical’s book and its composition and lyrics, and the production itself. I have looked at all three of these aspects, the former in an attempt to see if Godspell is relevant in today’s more secular society compared to when it was originally produced, and I’ve also thought about the book and musical content, though it’s admittedly a challenge to separate those components from their biblical source. It’s all made a bit more difficult given the fact that there’s even a bit of hypocrisy embedded within the piece — after all, one of its parables tells us not to advertise our piety, and yet, in its exuberant two-hour celebration of faith, isn’t Godspell doing exactly that?

Moving beyond that point, it’s certainly a musical with staying power — filled with catchy ensemble songs and a distinctly 1970s musical theatre feel, which, for some, is an acquired taste. For those who grew up with it, much like Pippin or Jesus Christ Superstar, there’s a sense of nostalgia; for younger audiences, it may take a moment to connect. But what redeems Godspell again and again is its adaptability — the looseness of its structure allows for reinvention, and that’s precisely what director Shannon Dowling has done so well here in the latest production from InD Theatre, running on stage at Rolling Bay Hall through November 2.

Shannon sets her production on a modern college campus quad where a group of students has gathered to protest. The set is gritty, the fences and posters grounding us in a restless present. Into this turmoil steps Jesus — in this case, Jacqueline Tardanico — bringing a message of humility, love, and togetherness to a crowd that is angry, frustrated, and directionless. It’s an inspired conceit, one that makes the allegory newly relevant. The protesting students are met first by John the Baptist (played by Shannon Johnson), who baptizes them in preparation for Jesus’s arrival, and from there the play’s parables unfold, each represented by slips of paper strung around the quad and fencing, which Jesus pulls down and hands to the students to act out.

It’s a clever visual metaphor — scripture as protest sign, the Word as act of resistance — and it allows the piece to maintain a kind of fluid immediacy. The production also benefits from inventive design touches, like the opening sequence in which the cast uses cell phones to illuminate their faces before the lights rise in a bold burst of unity. The attention to detail throughout is impressive for such an intimate venue as Rolling Bay Hall, especially considering that Shannon and her creative team have incorporated a live band onstage (Will Sanders, Cameron Schneider, Peter Vosshall, Toby Bruce). And given the small space, it would make sense that it feel squeezed in, but the movement and choreography, under Philippa Myler, never feel cramped or forced; instead, the energy feels organic and full.

As in most modern productions of Godspell, beyond Jesus and Judas, the characters take on the names of the actors themselves. Among this group, Carin Young stands out in her Act 1 number, Bless the Lord, a soulful, confident performance that serves as the musical highlight of the show’s first half. While her opening number on Saturday showed some strain at the upper end of her range, this later song sits squarely in her wheelhouse, allowing her to exhibit both vocal strength and emotional depth, beautifully balanced with the ensemble’s harmonies. Ava McCallum’s All Good Gifts is another high point — her voice is deceptively powerful, layered with warmth and conviction. The duet All for the Best between Jacqueline and Shannon Johnson (as Jesus and Judas) is perhaps the most entertaining and tightly executed number of the show; both handle their vocal interplay with precision, maintaining clarity while singing in excellent balance with the ensemble.

The hallmark of this particular production is the overall vocal quality. From that standpoint, Jacqueline’s Beautiful City is exquisite — heartfelt, sorrowful, and delivered with remarkable emotional honesty, while Sarah Conte-Bacolini’s By My Side in Act 2 is hauntingly beautiful, supported by rich harmonies and again a delicate balance, credit going not just to these wonderful performers but also to music director Will Sanders. Shannon Dowling, who pulls double duty as director and performer, brings an overwhelmingly mature voice to her own vocal performances and a sultriness to her character that adds depth and contrast to the ensemble dynamic. In truth, Shannon has assembled an ensemble of strong singers, each capable individually but even more effective as a cohesive unit. Beyond the aforementioned, the cast is rounded out by Keaton Harper, Siriam Kanduri, and Abby Dickson, each good in the group and solid in their featured numbers.

The costume design, by Dawn Janow, nods toward the original Godspell aesthetic with its ragged, earthy texture, but also sharpens the visual contrast between Jesus in pure white and Judas in black leather — a classic but effective choice. The lighting design, by Eli Backer, enhances the storytelling with thoughtful precision, from the glow of those early cell phone lights to sharp spot cues and evocative use of color — notably red to mark scenes associated with darkness or the underworld. Every cue feels intentional and well-timed.

While Act 1 is replete with parables that can really be generally applied, perhaps the most compelling stretch comes early in Act 2, in a sequence that feels particularly resonant today — a parable warning of leaders and kings who promise prosperity while diverting attention away from the needs of the community. It’s a moment that transcends the show’s age, connecting its message to our own uncertain times.

InD Theatre’s Godspell may not convert every skeptic, but it doesn’t need to. It’s a production that embraces the dualities of belief and doubt, of faith and questioning, and it finds strength in that balance. What lingers is the sincerity of the effort — the raw, open-hearted performances, the creativity of its staging, and the palpable sense of community that builds between cast and audience by the final bow. Like the best interpretations of Godspell, Shannon Dowling’s version feels both familiar and immediate, reverent and restless. It’s theatre as parable, but also as protest — and in its imperfect, searching way, it invites us to listen, reflect, and maybe find a little faith in each other again.

The inD Theatre production of Godspell runs on stage at Rolling Bay Hall on Bainbridge Island through November 2. For more information, including ticket availability, visit https://www.indtheatre.org/.

Photo credit: Abby Wyatt Images