Raw emotion on display in goodspeed's riveting new musical, the 12
By Kiersten Bjork (September 28, 2023)
The 12 at Goodspeed Musicals, directed by John Doyle, is a raw, riveting new musical with book and lyrics by Robert Schenkkan and music and lyrics by Neil Berg. The production features musical direction by Adam Souza and music supervision and orchestrations by Greg Jarrett. Based on the events in the biblical Passion story following the deaths of Judas and Jesus, The 12 tells the story of the disciples as they wrestle with fear, mistrust, confusion and grief. They set aside their lives to follow “teacher,” as he is called in the production, and now that he is dead, what do they do? How can they go on? They are terrified that they will be next. They are heartbroken at the loss of their friend. They are afraid to trust each other, after one of their own betrayed their leader. The 12 features new songs such as “Sons of Thunder,” “Magdalene,” “Lazarus,” and “Now I Lay Me Down To Sleep,” in styles ranging from rock to gospel to folk. Each song is well-crafted and beautifully sung, and Doyle has wrapped it all up in strong and effective staging.
The 12 is not a classic, flashy musical that is typically found on the Goodspeed stage. It’s dark and it’s tragic, and yet it is also hopeful and empowering. It is a passionate outpouring of emotion exhibited through the lens of the disciples as they struggle with feelings that we can all understand, regardless of religious background. Now, the production does seem a bit reminiscent of Andrew Lloyd Weber’s Jesus Christ Superstar, even down to the cross-shaped I-beams on the set that evoke a similar image to the current JCS touring production’s scenic design. However, I appreciate that this story emphasized that these people were “ordinary.” When Jesus had the pick of anyone in the world, he chose these completely ordinary ones – fishermen, tax collectors, prostitutes – to follow him. It was refreshing, in that sense, because it does allow you to feel that you can relate more closely to the characters as an audience member. As Schenkkan and Berg say in their Writers’ Notes, the show could be set “in NYC today, or Jerusalem two thousand years ago.” If you remove the context of the disciples’ lives, their experiences can be universal, and that is what The 12 plays into. The show isn’t trying to sway you into a religious perspective, or anything like that, it instead uses the biblical context to explore the rawest of human emotions – grief, fear, hope, despair, and love.
The 12 at Goodspeed Musicals, directed by John Doyle, is a raw, riveting new musical with book and lyrics by Robert Schenkkan and music and lyrics by Neil Berg. The production features musical direction by Adam Souza and music supervision and orchestrations by Greg Jarrett. Based on the events in the biblical Passion story following the deaths of Judas and Jesus, The 12 tells the story of the disciples as they wrestle with fear, mistrust, confusion and grief. They set aside their lives to follow “teacher,” as he is called in the production, and now that he is dead, what do they do? How can they go on? They are terrified that they will be next. They are heartbroken at the loss of their friend. They are afraid to trust each other, after one of their own betrayed their leader. The 12 features new songs such as “Sons of Thunder,” “Magdalene,” “Lazarus,” and “Now I Lay Me Down To Sleep,” in styles ranging from rock to gospel to folk. Each song is well-crafted and beautifully sung, and Doyle has wrapped it all up in strong and effective staging.
The 12 is not a classic, flashy musical that is typically found on the Goodspeed stage. It’s dark and it’s tragic, and yet it is also hopeful and empowering. It is a passionate outpouring of emotion exhibited through the lens of the disciples as they struggle with feelings that we can all understand, regardless of religious background. Now, the production does seem a bit reminiscent of Andrew Lloyd Weber’s Jesus Christ Superstar, even down to the cross-shaped I-beams on the set that evoke a similar image to the current JCS touring production’s scenic design. However, I appreciate that this story emphasized that these people were “ordinary.” When Jesus had the pick of anyone in the world, he chose these completely ordinary ones – fishermen, tax collectors, prostitutes – to follow him. It was refreshing, in that sense, because it does allow you to feel that you can relate more closely to the characters as an audience member. As Schenkkan and Berg say in their Writers’ Notes, the show could be set “in NYC today, or Jerusalem two thousand years ago.” If you remove the context of the disciples’ lives, their experiences can be universal, and that is what The 12 plays into. The show isn’t trying to sway you into a religious perspective, or anything like that, it instead uses the biblical context to explore the rawest of human emotions – grief, fear, hope, despair, and love.
The 12 is performed by an incredibly talented ensemble. Their vocal blending and character interactions are wonderful to witness, and their impressive harmonies practically lift the roof off the theatre during the more upbeat numbers.
Of the company, Wesley Taylor as Tom is a stand-out. Tom, famously known as “Doubting Thomas,” is presented as a sardonic, almost irreverent man, and his arc throughout the show is my personal favorite. While many of the disciples differ in their opinions on what comes next, Tom is the only one who practically mocks all that has happened until now. He thinks that he should never have been chosen in the first place and wields sarcasm and dark humor as a blade against those around him as they try to get through to him. Taylor embodies this role with precision and skill. He is incredibly relatable in the way that he wears Tom’s irreverence. His delivery of Tom’s biting quips is scathing yet still humorous. His is a performance you cannot look away from – Tom gives a voice to all of the doubts that poke holes in Christianity, specifically the demands for proof – and Taylor lives expertly within that character. His performance is elevated further by superb vocal talent, yielding a truly exceptional result.
Akron Lanier Watson is another performer who really takes the audience on his journey as Pete (the “Rock,” Simon Peter). His song, “Three Times,” where Pete recounts how he fulfilled Jesus’ prophecy that he would deny him three times before the rooster crowed, is heart-wrenching. Pete is facing his own self-loathing resulting from denying the man that he chose to follow, a friend that he loved, and Watson has the audience hanging on his every word with his performance. Similarly, Gregory Treco as Simon shows off impressive vocal ability and storytelling in his song “Pick Up the Knife.” Claiming to have been the one to kill Judas, Simon voices the side of the argument that favors violence – if we had killed, would Jesus still be alive? The fire and vehemence conveyed by Treco over the course of this song is riveting to witness.
Etai Benson brings a different energy as Jimmy (“James the Less”). There is a tenderness to his portrayal, particularly in his rendition of “Magdalene” as he sings to Mags about love. He is charming, with a boyish sort of sweetness as he proposes making their own future away from the chaos that has arisen, and his choices are a nice balance to the harsher characteristics in some of the other roles. Likewise, Brandon J. Ellis as Phil (Philip) and Rob Morrison as Bart (Bartholomew, sometimes known as Nathaniel) also live within that softer world. Their characters wrestle with whether or not they would still have followed Jesus if they could go back and do it all over again, and it is touching and relatable to watch them live within that open-ended what-if. Ellis and Morrison also play acoustic guitar expertly throughout the piece, taking on an additional level of storytelling and making their characters almost feel like bards as the musical progresses.
Of the company, Wesley Taylor as Tom is a stand-out. Tom, famously known as “Doubting Thomas,” is presented as a sardonic, almost irreverent man, and his arc throughout the show is my personal favorite. While many of the disciples differ in their opinions on what comes next, Tom is the only one who practically mocks all that has happened until now. He thinks that he should never have been chosen in the first place and wields sarcasm and dark humor as a blade against those around him as they try to get through to him. Taylor embodies this role with precision and skill. He is incredibly relatable in the way that he wears Tom’s irreverence. His delivery of Tom’s biting quips is scathing yet still humorous. His is a performance you cannot look away from – Tom gives a voice to all of the doubts that poke holes in Christianity, specifically the demands for proof – and Taylor lives expertly within that character. His performance is elevated further by superb vocal talent, yielding a truly exceptional result.
Akron Lanier Watson is another performer who really takes the audience on his journey as Pete (the “Rock,” Simon Peter). His song, “Three Times,” where Pete recounts how he fulfilled Jesus’ prophecy that he would deny him three times before the rooster crowed, is heart-wrenching. Pete is facing his own self-loathing resulting from denying the man that he chose to follow, a friend that he loved, and Watson has the audience hanging on his every word with his performance. Similarly, Gregory Treco as Simon shows off impressive vocal ability and storytelling in his song “Pick Up the Knife.” Claiming to have been the one to kill Judas, Simon voices the side of the argument that favors violence – if we had killed, would Jesus still be alive? The fire and vehemence conveyed by Treco over the course of this song is riveting to witness.
Etai Benson brings a different energy as Jimmy (“James the Less”). There is a tenderness to his portrayal, particularly in his rendition of “Magdalene” as he sings to Mags about love. He is charming, with a boyish sort of sweetness as he proposes making their own future away from the chaos that has arisen, and his choices are a nice balance to the harsher characteristics in some of the other roles. Likewise, Brandon J. Ellis as Phil (Philip) and Rob Morrison as Bart (Bartholomew, sometimes known as Nathaniel) also live within that softer world. Their characters wrestle with whether or not they would still have followed Jesus if they could go back and do it all over again, and it is touching and relatable to watch them live within that open-ended what-if. Ellis and Morrison also play acoustic guitar expertly throughout the piece, taking on an additional level of storytelling and making their characters almost feel like bards as the musical progresses.
Kelvin Moon Loh plays James (“Son of Thunder,” brother of John) with a sense of agitation. James voices much of the mistrust that is bubbling up amongst the group, the fear of what could come next, and Loh imbues James with a serious intensity. He’s calculating, yet, like the others, still so lost. James’ brother, John, is played by Kyle Scatliffe, an actor who cuts an imposing figure even before bringing a vehemence to the role. Scatliffe really physicalizes each of his choices, putting his full energy and self into the language and lyrics. The entire audience jumped at a particular outburst from Scatliffe, and that intensity followed him throughout the show.
F. Michael Haynie is wonderfully frustrating as Matt (Matthew, the tax collector). Matt is the one to pipe up against Mags, directly challenging her believability as a woman, though they come around in the end. Wonza Johnson shows off a great voice as Andrew, the earnest younger brother of Pete, and Mel Johnson Jr. wields incredible presence as Tee (Thaddeus). Tee was a particularly interesting character because he comes in and out of the scenes due to the fogginess of a head injury, and thus when he finally is given the spotlight, there is a certain gravity to his words, beyond just the seriousness of the topic.
Adrienne Walker puts on a truly stellar performance as Mags (Mary Magdalene). I was curious how the character of Mary Magdalene would be treated in a story such as this, and I was really satisfied with the way that Walker played her. There is a fierce strength to her – she is a powerful woman, made stronger by the acceptance and love that Jesus has shown her – and Walker fills that role with a stunning voice and effortless conviction. I would have watched a show where Walker as Mags was the main protagonist, and honestly, would have loved to see Mags used even more throughout this story. Rema Webb as Mother Mary is another striking performance – her rendition of “Rain” was absolutely heartbreaking. It’s the lament of a grieving mother attempting to deal with the loss of her son, asking where he has gone, and a number of audience members around me were in tears by the end of it.
F. Michael Haynie is wonderfully frustrating as Matt (Matthew, the tax collector). Matt is the one to pipe up against Mags, directly challenging her believability as a woman, though they come around in the end. Wonza Johnson shows off a great voice as Andrew, the earnest younger brother of Pete, and Mel Johnson Jr. wields incredible presence as Tee (Thaddeus). Tee was a particularly interesting character because he comes in and out of the scenes due to the fogginess of a head injury, and thus when he finally is given the spotlight, there is a certain gravity to his words, beyond just the seriousness of the topic.
Adrienne Walker puts on a truly stellar performance as Mags (Mary Magdalene). I was curious how the character of Mary Magdalene would be treated in a story such as this, and I was really satisfied with the way that Walker played her. There is a fierce strength to her – she is a powerful woman, made stronger by the acceptance and love that Jesus has shown her – and Walker fills that role with a stunning voice and effortless conviction. I would have watched a show where Walker as Mags was the main protagonist, and honestly, would have loved to see Mags used even more throughout this story. Rema Webb as Mother Mary is another striking performance – her rendition of “Rain” was absolutely heartbreaking. It’s the lament of a grieving mother attempting to deal with the loss of her son, asking where he has gone, and a number of audience members around me were in tears by the end of it.
Director John Doyle is also the scenic designer for the production. He has created a gritty, abandoned warehouse/safe room feel with the broken windows, corrugated metal walls, I-beams, a large sliding door, and graffiti that make up the bulk of the set. While it makes me think of the current JCS touring set, I do like the style and the obvious symbol of the cross built into the design. Pieces such as crates and barrels are scattered about and used by actors throughout the show as seats, stools, and more. Doyle makes interesting and effective use of the cross, the ladder, and the various barrels and crates for levels.
Lighting designer Japhy Weidman has the tricky job of lighting a production that can’t be too light and can’t be too dark. Many of the scenes take place in a semi-dark sort of lighting, and it works for the nature of the piece. The actors are at least partially in shadow much of the time, or accented with light from only certain angles, but the effects work well for the darker air of the piece. Many of the numbers ended with a drastic lighting shift at the button of the song, which I enjoyed, though perhaps it was an effect used too frequently.
Costumes by designer Ann Hould-Ward are excellent representations of the state of the characters. The costumes are made up of a variety of pieces that feel worn, found, and almost cobbled together. They evoke characters that have had a truly trying last few days, characters that have spent a lot of time traveling, characters who now find themselves in hiding with perhaps nothing more than the clothes on their backs. Hould-Ward’s designs really add to the storytelling in a genuine way. As always, sound design by Jay Hilton highlights the moving score and range of effects. I particularly liked the thunder effect used in this production. The pit for this production was top-notch as well.
Lighting designer Japhy Weidman has the tricky job of lighting a production that can’t be too light and can’t be too dark. Many of the scenes take place in a semi-dark sort of lighting, and it works for the nature of the piece. The actors are at least partially in shadow much of the time, or accented with light from only certain angles, but the effects work well for the darker air of the piece. Many of the numbers ended with a drastic lighting shift at the button of the song, which I enjoyed, though perhaps it was an effect used too frequently.
Costumes by designer Ann Hould-Ward are excellent representations of the state of the characters. The costumes are made up of a variety of pieces that feel worn, found, and almost cobbled together. They evoke characters that have had a truly trying last few days, characters that have spent a lot of time traveling, characters who now find themselves in hiding with perhaps nothing more than the clothes on their backs. Hould-Ward’s designs really add to the storytelling in a genuine way. As always, sound design by Jay Hilton highlights the moving score and range of effects. I particularly liked the thunder effect used in this production. The pit for this production was top-notch as well.
The 12 at Goodspeed Musicals is not your typical Goodspeed fare, but I highly recommend giving it a chance and checking it out. You will not want to miss the performances from this talented cast, and you will perhaps be surprised by how deeply this piece digs into the human experience. This is a show you see not simply for entertainment value, but to move beyond that and to witness an exploration of feeling from grief to love, all via the magic of live theatre. Catch The 12 at Goodspeed before it closes on October 29.
The 12 will run from September 8-October 29 at Goodspeed Musicals in East Haddam, CT. Curtain times are Wednesday at 2:00 p.m. and 7:30 p.m., Thursday at 7:30 p.m. (with select performances at 2:00p.m.), Friday at 8:00 p.m., Saturday at 3:00 p.m. and 8:00 p.m., and Sunday at 2:00 p.m. (with select performances at 5:30 p.m.). Tickets are available through the Box Office (860.873.8668), or online at goodspeed.org.
Kiersten Bjork is a theatremaker and reviewer (Connecticut Critics Circle) from Branford, CT.
The 12 will run from September 8-October 29 at Goodspeed Musicals in East Haddam, CT. Curtain times are Wednesday at 2:00 p.m. and 7:30 p.m., Thursday at 7:30 p.m. (with select performances at 2:00p.m.), Friday at 8:00 p.m., Saturday at 3:00 p.m. and 8:00 p.m., and Sunday at 2:00 p.m. (with select performances at 5:30 p.m.). Tickets are available through the Box Office (860.873.8668), or online at goodspeed.org.
Kiersten Bjork is a theatremaker and reviewer (Connecticut Critics Circle) from Branford, CT.