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From Peggy Gordon
GODSPELL’S MUSICAL TRANSITION
The original music, written by a good friend of
John-Michael Tebelak for the Carnegie production of GODSPELL, was largely
improvisatory. The songs (with lyrics from traditional hymns) were: “Prepare Ye
The Way of The Lord,” “Save the People,” “Day by Day,” “Bless the Lord,” “All
Good Gifts,” “Turn Back 'O Man” (which was a ballad), “On The Willows” and what
was then called, seriously, “Oh God, I'm Busted!” When the show moved to La
Mama, without John-Michael's friend Dwayne as composer, the improvisatory
underscoring was dropped and two new songs were added: mine, “By My Side;” and,
Jeffrey Mylett's song, “Creation.” In truth, the show was an absolutely raw,
wildflower without strong structure but plenty of genuine heart and soul -- an
exuberant diamond in the rough. After La Mama, when Stephen Schwartz was brought
in, he provided additional music: “Learn Your Lessons Well,” “All For The Best,”
“Light of the World,” “Alas For You,” “We Beseech Thee,” “Long Live God;” and
then, eventually for the film, Beautiful City.” As I recently told Stephen, we
were stunned when we first heard his music at Edgar Lansbury's home. It was not
only different, but there was so much more of it! Also, unlike the original
music, he had provided a lead singer for each song. With a few exceptions,
previously, the music had largely been all group numbers. So, we were protective
of the old and a little reserved toward the new. But when we began to rehearse
at The Cherry Lane Theater (and, yes, there was a piano brought downstage), we
sat around onstage and began to sing. It was heaven--pure, blissful, joyful,
exuberant heaven--to learn these songs, to learn our individual harmony parts
and then sing them in the context of the show. “By My Side” was the only song
from the La Mama production that was kept in the new show. As Stephen generously
said to me, he had tried to write something to fill that spot but couldn't write
anything better. This was not only a magnanimous act on his part as a composer;
but, as I mentioned earlier, we were somewhat reserved toward him at Edgar's
home. It was there that he approached me and gave me this great compliment. I
was stunned, and, ironically, it was only when we (Stephen, Sonia Manzano ,
Robin Lamont and I) had our wonderful dinner before we enjoyed the GODSPELL
production at the York Theater last fall) that I remembered to tell him
everything I've just told you. We all became such loving, close friends, that,
well, I'd simply forgotten to tell him. The show was and continues to be one of
our, collectively speaking, best memories. We will be reliving so many of these
wonderful times in May when all the members of all the original companies
convene in Los Angeles for our—yikes--30th anniversary reunion.
PEGGY
GORDON ON THE MEANING OF “BY MY SIDE”
Ironically, “By My Side” was written for a project we
were working on in my freshman year at Carnegie Mellon University. It was
originally a love song sung by a character named Marigold to her love, Elkin,
so, it was called Marigold's song. The song’s lyricist, Jay Hamburger, was
actually the author of the play Marigold and Elkin. (He is also a fine poet and
writer/director for a theater, currently in Vancouver Canada). In the song,
Marigold must dare herself to not just declare her love for Elkin, but follow
him on his journey. So when John Michael decided to put it in to that spot in
GODSPELL, it somehow seemed to fit the same need. In other words, after my
character survives the attempts to stone her, Jesus says lovingly that he
doesn’t condemn her. “You may go. Do not sin again.” She, in that moment, knows
that she wants to go with him, wherever he goes-- but does she have to courage
to ask. So, the lyrics simply mean: "Where are you going? Where are you going?
Can you take me with you? For my hand is cold, and needs warmth. Where are you
going? "Now, he doesn't verbally respond, but because his back is to the
audiencefacing her, what we played was that he spoke to my heart and told me
that he was going..."Far beyond where the horizon lies, where the horizon lies,
where the land sinks into mellow blueness” (a pretty heavy spiritual metaphor)
She realizes and then asks him again... "Oh, please, take me with you. "She
realizes that she must test herself to make the journey with him, so she says,
"Let me skip the road with you. I can dare myself. I can dare myself." She feels
she must prove it so she says, "I'll put a pebble in my shoe and watch me walk.
I can walk and walk." And, let me tell you, walking with a pebble is a test of
will. While she walks she gains strength and realizes..."Dare shall be carried”
(and "dare" is really a metaphor for her own growing commitment to him) “and
when we both have had enough” (in other words, when she's ready), “I will take
him from my shoe, singing meet your new road” (for there will surely be another
who needs to test him or herself to make the journey). Then she knows she can
say, "Then, I'll take your hand, finally glad that I am here by your side." Now,
she knows she'll never "sin no more," but she also knows she'll never leave him.
It's metaphorical, but it worked and I built my shy, timid clown from the lyrics
of the song. My clown was the most fearful of the audience, of "stepping
forward." That's why the metaphor of daring oneself on a spiritual quest is so
meaningful. It was odd that the song fit as well as it did since it was written
for another project. It was Steve Nathan's idea that when they reach out their
hands to each other, they should never actually touch because his time on earth
was coming to an end. Most of the metaphorical business came from Steve Nathan
and John-Michael, one of the reasons there was so much subtext in the show. Some
productions over the years have understood it inherently and some others
haven't. It's always wonderful to see a production that's faithful to our
original intent. To have the show be about each clown's unique moment of
revelation and commitment and through their individual realization build a true
community. Perhaps that's why it's endured theatrically.
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