We did this in 2011 – http://thespideyproject.blogspot.com

and this in 2011/2012 – http://www.compasstheatrical.com

FRINGE ENCORES: POPE!

The ‘Fringe’iest show I saw this year was POPE! The Musical. A Simple, but well thought out tale of a boy who dreams of becoming pope. Flash forward to his life as pope; it isn’t quite as easy as he expected.

What POPE! The Musical does right:

1) A good score with show-tunes. Most songs have a good hook or gimmick, and the score varies in styles. The songs aren’t too long, and some move the plot, while others teach lessons.

2) A simple plot. It’s basically the story of any natural leader who gets overthrown, only to regain that thrown in the end. It’s Lion King, It’s Jesus Christ Superstar…it’s a formula for a good dramatic arch.

3) Comedy sketches. There are several vaudeville/variety show sketches that are pure comic relief. They don’t move the plot, but they’re clever and witty. The humor of the show is admirable, and the characters are like-able. I like that this show has elements of camp-fire sketch, while maintaining a full arch, and taking itself seriously. It’s exactly what a Fringe show should be. Despite whether the authors see future productions, the Fringe is an excellent showcase for this production.

4) Great use of space. For a minimal set, there are many actors, and the use of space is important. The way they cover time and location is successful. There is some great choreography and lighting that helps too.

5) Originality. Most of all, who thought to write a musical about the Pope? I actually learned something, while it’s not entirely about being informative. It’s entertainment, but it’s also interesting.

FRINGE BENEFITS — Theatrical Time Spent In the Vatican, In the Schoolyard, In A Relationship

By Rob Lester

Hail Mary Elizabeth and hail Mary Katherine and hail Mary Francis, the three nuns in the peppy Pope! – and all its other characters, too.  Perhaps we’d usually spell that as Frances with an E, but nun-the-less, it’s a spiffy and spectacularly entertaining musical with lots and lots of laughs and a sunny disposition.  It manages to be irreverent in more ways than one without being mean-spirited, agenda-heavy, or out to get anybody.  They’re not metaphorically throwing rocks at the stained glass window and trying to attack the Catholic Church with pellets of sarcasm or mockery.  Oh, there’s some points made about blind following of leaders, and trust issues, and power that corrupts.  Add to that:  the cancer that is jealousy and pain and suffering and the torture of sexual repression and deception and other inconveniences, but mostly it’s a hoot without the smartass smugness subversive subterfuge that can come with such screwy skewering in other musical comedy Fringe field days.  Pope! is not holier than thou when delivering its own gospel.  It describes itself in its publicity as a “cartoon-style adventure,” and it is.  It bills itself as “an epic musical” and that should be taken with a grain or pillar of salt, as it is not overblown or too big for its britches or choir robe, but when the title character is banished, his suffering and struggle to return home and be true to his calling, kind of reflects some mythological or Biblical heroes.  We first meet Pope – that’s what his parents named him — on the last day of eighth grade.  He’s introduced with a song in a tongue-in-cheeky driving rock style by a strutting, wild-haired guitar-playing guy, but it’s one of very few small misleading missteps, not quite setting the exact tone we need and soon get.  Quite soon, we’re in the Vatican years later and Pope’s goal of being named Pope comes to pass.  He’s a cheerful leader, affable, approachable, delivering homilies on whatever is at hand, such as the blueberry muffin put in his hand for breakfast.  Life, he tells us, can be like that muffin, the fruit being sweet and worth the…well, you get the idea.  The Archbishop becomes his arch enemy and covets his position and trouble, as they say, ensues.  Have faith, though, it’s consistently clever and adorable.  Even when the Pope can’t cope and starts to lose hope, the musical never loses its sparkle and the cast is always on its game with many little detailed touches and reactions that strike just the right notes.  Speaking of notes, the score is delicious and varied, satisfyingly using gospel or religious chant-like modes just occasionally so as not to overindulge by going to the well of holy water too many times.  There’s catchy musical comedy dazzle and pop elsewhere.  One number recalls a Disney movie romp and another’s rollicking vamp (just the vamp) suggests the theme song from Sesame Street. Songs as performed here sometimes eschew the precise punch of an ending to spur applause, called a “button” in theatre, and a blackout or exit as the song ends might be missing, too, but even if such subtle usual manipulation or precise Pavlovian cues to clap are absent, the crowd is ready to roar with pleasure.

The cast of nine is more than fine and dandy, with some playing multiple roles.  Ryan Nelson is immensely likeable and wide-eyed and big-heartedly charming as Pope.  Scott Hart uses some classic approaches to comic villain vainness as the Archbishop – a diabolical laugh, a sneer, gloating, flourishes, and a take-charge manner without overkill to overstay his welcome.  Michael Campbell as his eager-to-please, if dim, helper is spot on and, pardon the expression, a match made in Heaven.  Jonathan Roufaeal is excellent as a Cardinal, as the preening, so self-satisfied Dexter, first seen as a teen, and as Jesus, but not that Jesus you might be expecting.

The show is a family affair that proves that nepotism is no cardinal sin.  Justin Moran penned the tight, bright  book and lyrics, having honed them in improv workshops through the Magnet Theater.  His father, Greg Moran, is the director and runs a tight, talented ship: the show moves crisply, but we’re allowed to savor moments.  Justin’s wife, Molly Moran, is another asset in the role of Mary Katherine.  The instrumental trio is led by pianist Adam Podd with Matt Podd on percussion and Dillon Kondor is the bass player.  They play Christopher Pappas’s feisty, fun, felicitous melodies with theatrical vim and, like everyone else, including the clearly enthusiastic and appreciative, giggling audience, seem to be having a blast.  Long live the Pope!

more details to come…  www.fringenyc-encoreseries.com/

It’s wacky. It’s a family affair. And it’s proof that the musical is not dead. “Pope!” uses a light story—an earnest young man becomes pope, only to be brought down by a manufactured scandal, then stages a comeback—paired with classic stage elements that make musicals fun and entertaining. Directed by Greg Moran and written by his son Justin Moran, this romp is full of smart songs and snappy choreography, with nods to Jerome Robbins and Busby Berkeley. Be prepared for a few good laughs.

—Pia Catton

*** Let’s just clear one thing up: All the credit for the sweet choral arrangements goes entirely to our fantastic musical director Adam Podd!

nytheatre.com review
Josh Sherman · August 21, 2010

Musical theatre and the Catholic Church—it’s like chocolate and peanut butter, they just seem to taste so good when slapped together. Pope! An Epic Musical attempts to add themselves to the tradition-rich list of goofy, tongue-in-cheek religious send ups, and in its own very lo-fi way it succeeds. Creators Justin Moran (book and lyrics) and Christopher Pappas (music) have created a deliberately cartoonish but very tuneful take of a young man’s heroic journey to reinvigorate faith in the Church. With the help of a very game cast and a great sense of playfulness, Pope! wins the hearts of the audience through its commitment to the comedy and the clear enthusiasm of the participants. Though a tad long at 90 minutes, with a little trimming and a lot more polish, I could see Pope! running for awhile—preferably in a refurbished house of worship to add some irony.

Our hero, Pope (Ryan Nelson)—yes, that’s his name—knows from the time he is in eighth grade that he’s been ordained to lead the Church into a new era of prosperity. He is lured into brief temptation by his adoring classmate Mary Elizabeth (Liz Bachman)—much to the dismay of eighth grade rival Dexter (a terrific Jonathan Roufaeal). Quickly there is a flash-forward to 28 years later as Pope has now become…well, THE Pope and Dexter a flashy journalist. Pope has, of course, gotten a 98% approval rating since ascending the throne and creates “inspirational” sermons through common items like blueberry muffins. Enter the stereotypical evil Archbishop (Scott Hart) who rapidly gets in cahoots with Dexter to plot the Pope’s downfall. Through a bizarrely unexplained sex scandal (the only part of the show that fails to work), Pope is exiled and takes on his traditional hero’s odyssey before returning to fight the new regime.

As a total spoof, pop culture send ups are abundantly found throughout Pope! An Epic Musical: there’s a visual Charlie’s Angels gag (featuring nuns, of course), an homage to the infamous “Spanish Inquisition” number from the Mel Brooks comedy classic History of the World: Part I, more than one Spamalot reference, and the grand finale “We All Learned Something” should just send some royalty checks to Trey Parker and Matt Stone, the creators of South Park. Fortunately for Moran and Pappas’s legal team, the musical is a love letter that follows in the path of their comedy forefathers and, at the very least, keeps its audience laughing during the somewhat ludicrous plot twists.

It would be unfair to call the show a knockoff, though, as Moran’s score is the star of the show, not Pope, because it is as infectiously tasteless and bubbly as anything that Mel Brooks has composed lately. The two strongest are the very original, dirty number between Pope and Mary Elizabeth entitled “Duet: in the Mass” (which probably would make Parker and Stone jealous for not having thought of it first), and the show-stopping “What Would Jesus Do” number, in which a fictitious recently deceased Mets second baseman named Jesus Martinez (played winningly by Roufaeal) advises Pope on his course of action.

Director Greg Moran (father of the author) keeps the pace moving for the most part, and the three piece “Swingin’ Pope! Band” tie the proceedings together smoothly. Kudos are due to Justin Moran as well for the complicated (for Fringe, anyway) choral arrangements on the hymnal numbers—as well as for the ensemble, who confidently belt out such numbers a cappella. There is a lot to like, and laugh at, while immersing oneself in Pope! An Epic Musical. Take the journey while you can—you’ll leave the theatre humming to yourself for a change, even if you feel slightly silly while doing it.

It’s significant that “Pope! An Epic Musical” begins with kids wishing each other “Happy last day of eighth grade!” Though it flirts with grown-up irreverence, the lively tuner is a juvenile romp that should appeal to fans of television cartoons…

Because of peppy performances—especially by Woody Allen–ish Ryan Nelson as the title character and Jonathan Roufaeal, who leads a rousing gospel number—inventive direction by Greg Moran, and a promising score by book writer–lyricist Justin Moran and composer Christopher Pappas, “Pope!” is a cheerful, zany trifle.

Not bad for a cartoon-style adventure musical!

Highlights of the eclectic festival, concluding this week, include “Terms of Dismemberment,” a musical directed by Hinton Battle; Justin Moran, Greg Moran, and Christopher Pappas’s “Pope! An Epic Musical”; Anna Khaja’s solo drama “Shaheed: The Dream and Death of Benazir Bhutto”; Gary Moore’s “Burning in China,” directed by Caleb Deschanel; “Veritas,” by Stan Richardson; and “The Hurricane Katrina Comedy Festival,” by Rob Florence. For a full schedule, visit fringenyc.org.

Oscar E. Moore “from the rear mezzanine” for Talk Entertainment.com

Holy Moly! Justin Moran (Book & Lyrics) and Christopher Pappas (Music) have written a terrific and thoroughly entertaining soft rock score for Pope! A clever and hip musical playing at the Lucille Lortel Theatre as part of Fringe Fest NYC. It is filled with one great melodic and memorable number after another.

Nicely directed by Greg Moran with choreography by Megan Ferentinos, Pope! will lift your spirits, give you some big laughs, and charm you with its sweetness. It’s an irreverent but loving tribute to the eternal fight between good and evil and the redemptive power of forgiveness. Done tongue in cheek – taking aim at religion, tabloid reporters, robots, faith, God and “The View” it is played for real with humor that sometimes borders on the ridiculous.

Can an eighth grade idealistic guy named Pope (Ryan Nelson) who becomes a popular Pope some twenty eight years later (likening the unifying power of the Holy Spirit to a blueberry muffin – in song) become Pope again after being excommunicated from the Vatican due to an alleged “sex scandal” orchestrated by the evil and power hungry Archbishop (Scott Hart) aided and abetted by his non too bright cohort Duncan (Michael Campbell) and published by the hungry for headlines tabloid reporter Dexter (Jonathan Roufaeal)?

It’s great fun finding out. Along the way, Mary Elizabeth (Liz Bachman) who was Pope’s prom sweetheart becomes a nun still pining for Pope. Her love for him remaining unrequited for obvious reasons.

“You Ain’t Never Seen a Pope Like Me” sung by the tyrannical Archbishop is a true show-stopper and scene stealer Scott Hart gives it his all. Once he is Pope he is hell bent on returning the Papacy to its warlike and belligerent past and imprisoning (in the basement that has a shag carpet) all those who oppose him. As the Cardinals lament “We Are Going to Die” you’ll be stricken with laughter. Other highlights include “Goodbye O Ye Shameful” and the roof raising “What Would Jesus Do” sung by the entire ensemble.

Jennifer Lauren Brown, Molly Moran, Travis Nilan and Zach Wobensmith play a variety of parts adding to the lunacy.

Oh yes, even God gets to sing a duet with Pope (the original who has grown a huge black bushy beard that he has to sing through). It works. It’s fun. Go. Mirth be with you.

Visit www.oscaremoore.com