Is the comedy the same without the production of Toronto’s “God Spell” in 1972?
Many performers who turned “SCTV” and “Saturday Night Live” into cultural phenomena in the ’70s and ’80s and cooked Emmy-winning sitcoms like “The Building Murder” and “Sitt’s Creek” began musical versions of Matthew’s book at the Royal Alexandra Theatre. The list of actors who will play Jesus and his disciples includes Martin Short, Eugene Levy, Gilda Radner, Victor Gerber, Andrea Martin, Dave Thomas, and music director Paul Schaffer. The show and its legacy stated, “You had to be there: Toronto Godspel ignited a comedy revolution, spreading love and overalls, and creating a community that changed the world (in a way like Canada) at the Toronto Film Festival.
All the surviving cast members, many of their friends and collaborators, were happy to remember “God Spell,” but Nick Davis, the film’s director, faced another problem. There was very little surviving footage from the show, except for the primitive audio recordings that Short created. However, filmmakers say the lack of archival material has improved the finished product. This relies on those tapes, interviews with actors, and animated portrayals of their memories.
“It feeds myths,” says Davis. “If there’s footage of Loch Ness monsters, it wouldn’t be Loch Ness monsters.”
Prior to the film’s Toronto premiere, the two figures who created the highly mythical “God Spell” Martin Short and Eugene Levy spoke about the story of their origins and the impact that the musical’s 14-month run had on shaping the 50-year comedy history.
What did you think when Nick Davis approached you about making a documentary about the 1972 production of “GodSpell”?
Eugene Levy: Well, the first thing I thought of was that there weren’t many footage of him being shot in 1972. So, how does this work?
Martin Short: I thought the same thing – no footage. I realized it was a fascinating story. For years, when I told people about “Godspel” Toronto, and like Paul Schaffer, Gilda, Andrea, all the people who were there were always fascinated by it. And people were always fascinated in that era in Toronto, where, like John Candy and Danny Ikroyd, all of these people were just waiting to be found.
There was an audio recording made with one performance. Why did you tape the Show Marty?
Short: Why did I do that? Why am I in show business? So I was the kid who had tape-paste an imaginary album. Everything was taped. I record my brother and I’m playing bits or my brother is playing piano and sister’s song.
Levy: Marty recorded people under the Christmas dinner table. He put tape on for the rest of his life.
When you were doing this musical, did you feel like you were doing something really special? Did it look like a myth?
Levy: No, the great thing about “God Spell” was that it was the first professional job we all had. We really couldn’t believe we got it. It marked the beginning of our careers and our lives in show business. This documentary is certainly exciting for us. Because it’s like a narrated home film of our beginnings. We made friends with very talented and lovely people. The same group of friends 50 years from now is still a group of friends. It was a magical time. So we’ve been telling the “God Spell” story for years every time we’re together.
Short: I couldn’t believe I didn’t need to study for homework or exams. We were paid. We were rioting. The show was amazing. It was something that rarely happens in show business. “Schitt’s Creek” is an example, with all the stars lined up and an actual home run. You’re fine with that. The show is amazing. The people you work with are great. You love going to work. And we went to the pilot and discussed what had happened on stage that night and drank a beer. But there was no perspective on that. No one sat there and said, “Oh my god, we’re historic.” As explained later in the documentary, Gilda and I called Paul when Paul moved to New York. We didn’t believe him.
Levy: The show itself was magical. Because literally every performance got a standing ovation. And we became local celebrities because our names were always featured in the papers.
There were so many great comedians coming out of Toronto in the 1970s. What about the city and its scene that helped you start so many careers?
Levy: Toronto was a hotbed of theatres in the early 70s. There were lots of local artworks. I think I met or met John Candy on a show called “The Stag King.” We went on a “God Spell” break. A lot was going on. But we don’t think we saw it as Paris in our 20s. There were work available and many talents emerged.
Have you heard of the experience of “god spelling” that shaped you as a performer?
Short: That’s the first experience I’ve had eight shows per week. Soon you’re learning a kind of discipline. You are learning what you have to do, what you cannot if you want to show up every night. Mostly, I remember it being so much fun. All these tapes of us hang out together at 2:30am, what are we talking about? “God Spell.” How the show went that night, and what we can do to make the next show better tomorrow.
Levy: The premise of “Godspel” was that they didn’t want sophisticated performers, which was great for people just starting out with their careers. It was thought, as you know, was a kind of ragtag band for hippies and kids.
Gilda Radner clearly influenced everyone who worked with her and watched her performance. Why did you make her so dynamic on stage?
Short: She was just a unique personality. I don’t think any of us have ever met someone like Gilda. Everything from her wallet to her hair was original and interesting, and it was really interesting. And she loved to laugh.
Levy: There was no way Gilda could bomb in the scene.
At the end of the documentary there is a fantastic scene where all the surviving cast members reunite in their apartment, reminiscing and singing the song from “Godspell.” What was it like taking a picture?
Short: It was amazing. When we got there we had us put the microphone down and we quickly forgot that they were on top of us. So there was a lot of uncensored, real conversations and actions. It was the apartment of Richard Rogers’ grandson, and the piano belonged to Richard Rogers. And the man who owned the apartment told Nick Davis, “Please make sure no one beats the piano,” and Paul said, “Have you heard me play? All I do is play the piano.”
It seems unlikely that so many people in this cast will have long, well-known careers in the world’s toughest business. Why do you think that happened?
Short: In show business, you need talent and you need to have endurance. You also need luck. Many years ago I saw a pilot of “Friends.” They showed it after the “SNL” taping and I was completely blown away. Everyone was amazing. Everyone was cast perfectly. The characters were already realised and the script was hilarious. Those things rarely happen. When “Second City” came to town, it hired most of the “God Spell” cast, which became the new hot vehicle. And since it was connected to Chicago, Lorne Michaels was scheduled to cast a new variety show at 11:30, and he saw “Second City” in Toronto. The timing was amazing. Going back to the “friend” analogy, if that pilot wasn’t picked up, I don’t know if Jennifer (Aniston) or Matt (LeBlanc) or everyone else found a great showcase for their talent.
Levy: As Marty said, we were lucky. If “GodSpell” does not come to Toronto, “Second City” does not open to Toronto.
