Almost 50 years have passed since John-Michael Tebelak and Stephen Schwartz’s musical Godspell premiered off-Broadway. Queanbeyan Players’ current production at the Q is a simple, unpretentious testimony to the musical’s continuing appeal.

Godspell has none of the technical pizzazz of composer Stephen Schwartz’s Wicked or Tim Rice and Andrew Lloyd Webber’s Jesus Christ Superstar or the bedazzling wizardry of modern day musicals. After all, it is the story of a common man, who stirred a simple crowd of countrymen and women to follow his teachings of devotion and love.

It is a musical about the creation of a community, a tribe of believers and their prophet of Galilee. Drawing primarily on the Gospel According to Saint Matthew, Godspell is clownish storytelling, told through the parables and punctuated by Schwartz’s eclectic musical genres and witty lyrics. In keeping with tradition, Queanbeyan Players have maintained a spontaneous and jubilant improvisational flavour throughout the production.

The hippies of yesteryear are now the hipsters of today, the common herd with their mobile phones, their Facebook friendships and Millennial attitudes. Anachronism and contemporary allusion bring the production into the 21st century while the parables and teachings of Christ remain entrenched in the origins of the protest movement that fuelled the Christian faith.

The true effectiveness of Queanbeyan Players’ revival is not in the power of the plot but in the spirit of the song. Performance of the parables in the first half generally lacked the detailed definition of clear and purposeful direction in the staging.

The ensemble musical numbers on the other hand, enthusiastically performed under the musical direction of Jenna Hinton and her musicians, and simply but joyfully choreographed by Belinda Hassall bring the stage to life with evangelical fervour.

From pop to rock, gospel to soul and choral harmony to Vaudeville, Schwartz’s song list is a litany of musical hits, sung with ecclesiastical fervour and rapturous jubilation by the motley gang, who gather in the graffiti-strewn backblocks of Emma White’s street scene.

The company sweeps along the street with Prepare Ye. Alyce King shows she is a talent to watch out for with her rendition of Learn Your Lesson Well. Day By Day lingers hauntingly in Emily Ridge’s fine rendition. Alexander Gorring looks the part as Jesus, but lacks charisma in the role.

What is evident in Queanbeyan Players’ production of Godspell is that it is amateur in the true sense of the word: it's done for love. Director White and her team have brought a strong feeling of community and ensemble to the show.

The parable is paramount in its expression of love and performers break the fourth wall to commune with the audience and entice them to share the joy and the spirit of this production. What they lack in sophistication they make up in sincere affection which cast its spell over the opening night audience.