Source: Maclean’s, October 1972.
If your friends could see you now in a redesigned ’73 Cutlass Supreme, they’d be impressed by the new set of wheels you got to chauffeur that special person you’re trying to dazzle, even if it is the third new date you’ve gone on this week. Go on, show off your new toy in a public place where people will gawk in amazement and your date will be charmed by your taste for cultural events. Good thing you’ve ventured out at three in the morning to figure out where to ideally position the car for maximum ego gratification.
But the car and its imaginary owner aren’t the reason we’re talking about this ad. Let’s zero in on one of the posters…
GM’s ad designers may have tried to jumble the letters to avoid copyright issues or invent a foreign-language theatrical sensation, but a sharp-eyed reader in 1972 would have been able to tell that the posters outside the Royal Alex are for the Toronto production of Godspell. After matching the poster with the program, we’ve determined the spotlighted performers below the scrambled title are, clockwise from top left, Avril Chown, Jayne Eastwood, Don Scardino (who replaced original Jesus Victor Garber, who had left to star in the film version), and Gilda Radner. The other poster includes the rest of the cast, which at this point included future SCTV stars Eugene Levy, Andrea Martin, and Martin Short. It doesn’t look as if any of the pit band, led by Paul Shaffer, are pictured.
The show’s first preview was in front of a group of two hundred clerics on May 25, 1972. The crowd was pleased with the joyful tone brought to the material, with the exception of a handful of grumbling Roman Catholic priests and nuns who refused to be identified in a Globe and Mail article. When the show opened on June 1, the Globe and Mail’s Herbert Whittaker felt the cast was energetic and high-spirited (“the energy of the performers seem almost diabolical, the frenzy of their enthusiasm unquenchable”), while the Star’s Urjo Kareda found Godspell clichéd, over-directed, and full of self-conscious actors (“there doesn’t appear to be a moment which hasn’t been minutely pre-programmed and choreographed, which leaves the exhausted-looking actors without a hope for the kind of spontaneity or improvisation which might animate and surprise”).
Shortly after this ad appeared, the production moved from the Royal Alex to the Bayview Playhouse (recently the site of a short-lived Fresh and Wild grocery store). Kareda gave Godspell another go after the move and found it more to his liking (“the actual performance is much more relaxed and ingratiating in the intimate confines of the Playhouse”). After 488 performances, the final bows were given on August 12, 1973.
Additional material from the May 26, 1972 and June 2, 1972 editions of the Globe and Mail, and the June 2, 1972 and September 11, 1972 editions of the Toronto Star.