On June 1, 1972, about 1,200 people eagerly took their seats at the Royal Alexandra Theatre in Toronto.
They were there to see the opening performance of an interesting new musical, featuring ten Biblical and non-Biblical characters who sing and act out parables.
During curtain call everyone agreed that regardless of what they thought of the play the actors were very good, and a few were especially magnetic.
Years later, while watching television, many of those audience members likely recognized them from that night in Toronto.
The group of actors have become bonafide legends.ng.
Some created the television masterpiece called SCTV.
One became an original member of Saturday Night Live.
Another emerged as one of the most famous musicians in North America.
Collectively the cast that hit the stage that night is one big EGOT as they have won multiple Emmys, Grammys, Oscars and Tonys.
I’m Craig Baird, this is Canadian History Ehx and today we’re capturing lightning in a bottle that became Godspell!
In 1987, James Kaplan wrote in the New Yorker,
“Toronto in 1972 resembled one of those artistic nexuses that crop up now and then, like Paris in the twenties, Los Angeles in the thirties, London just before the First World War.”
It was a fitting description of a city transitioning from a conservative beacon to a place where new ideas and trends developed.
That year, Toronto became the sun as artists circled its orbit.
Alex Lifeson and Geddy Lee were taking their first steps towards becoming prog-rock icons with their band Rush.
The lovable comedic actor John Candy got an uncredited role in his first feature film called Class of ’44.
In another corner of the city soon to be comedy legend, Lorne Michaels was starring in The Hart and Lorne Terrific Hour, a show featuring future icons Dan Aykroyd, Andrea Martin and Jackie Burroughs.
Martin was booked and busy because that same year she starred in Ivan Reitman’s independent exploitation comedy horror film, alongside Eugene Levy. The movie didn’t make much of an impact, but he went on to have a prolific career that included National Lampoon’s Animal House, Ghostbusters and Kindergarten Cop.
Amid this creative whirlwind sweeping the city, there were plans to bring a successful off-Broadway production of a play that opened on May 17, 1971, to Toronto.
Godspell began as a master’s thesis by John-Michael Tebelak in 1970 while attending Carnegie Mellon University.
He had been reading the gospels and became enthralled by the stories. quote,
“It dawned on me that Jesus had to have been a fantastic showman. No one wants to follow a sourpuss. That is the real downer. So, the idea just grew of making him a clown among clowns. A harlequin. So, he wears a Superman sweatshirt. He’s still a classic clown.”
And so, an idea was born for a musical featuring eight non-Biblical characters who sing and act out parables.
There is Gilmer, the silly storyteller, Robin the Tomboy, Herby, who is goofy but entertaining, the happy and excited Jeffrey, enthusiastic Joanne, clumsy Lamar, shy but loyal Peggy and the dramatic Sonia.
The leads were Jesus John The Baptist and Judas, but one actor plays both John and Judas and all 10 actors are on stage for the entire production.
The project by drama students then moved to the off-off-Broadway theater La MaMa Experimental Theatre Club in the East Village of Manhattan and to the attention of Edgar Lansbury, a Tony award-winning producer and Angela Lansbury’s younger brother.
He liked the production, and he brought in Stephen Schwartz to re-scored the show and set the music to lyrics from traditional hymns.
It made its off-Broadway debut at the Cherry Lane Theatre in New York City on May 17, 1971, and then moved to the Promenade Theatre three months later for a five-year run.
The success spawned productions which opened in Melbourne, Australia on Nov. 5, 1971, and two weeks later in London, England.
The London production featured several unknown actors including future Oscar winner Jeremy Irons in the role of John The Baptist and Judas.
More productions followed in early 1972 and then it was Toronto’s turn.
And that show brought a level of talent the likes of which haven’t been seen since.
Enter stage left…Honest Ed’s
Even if you didn’t live in Toronto, you knew about Honest Ed’s.
In 1943, Ed and Anne Mirvish opened a dress shop on Bloor Street called The Sports Bar.
Three years later, the business expanded and became known as Anna and Eddie’s.
By1948, Ed opened a bargain basement known as Honest Ed’s.
Called the World’s Biggest Discount Store, it went through several expansions and Ed Mirvish became and the store became institutions while also a big supporter of the local art scene.
When his application to tear down a Victorian building to build a parking lot was turned down, The Mirvish’s rented it out at a low rate to artists.
This turned the area into a community of studios, boutiques and galleries known as Mirvish Village.
By 1963 Ed Mirvish purchased the beautiful Royal Alexandra Theatre on King Street West.
Known as the Royal Alex, the Alex and The Rat, it was built in 1907 and is the oldest continuously operating legitimate theatre in North America.
Thanks to a letters patent from King Edward VII, it is one of the few theatres in North America to have the legitimate “royal” in front of the name, but it was nestled in the middle of a disused industrial area, and the theatre, like the neighbourhood, had been neglected for years.
He restored and renovated the theatre and revitalized the area.
By doing so Ed Mirvish launched a new era in Toronto theatre, ushering growth and developing talent that would help it become some of the best in the world.
And in 1972, he decided to bring Godspell to Toronto.
On March 3, 1972, the Toronto Star reported,
“Ed Mirvish has booked Godspell, the hit Broadway rock musical based on the gospel according to Saint Matthew, for six weeks with options that could take it right through the summer.
It was slated to open in May 1972, and staged at The Royal Alex which would become home to a ragtag group of young actors that would go on to make history.’
News traveled fast across Toronto that the production was coming.
Every actor in the city wanted a role and over 500 auditioned for the 10 roles available.
During the first week of March, various auditions were held and with each one the number of potential performers slowly decreased.
Until… the final call back…
Eugene Levy was one of those eagerly awaiting news of a role.
Originally from Hamilton, he never thought he would get far in the audition process.
When he first entered, he saw six people go in before him and each one sang the song Aquarius from the musical Hair.
He didn’t know the lyrics but listened to the chorus of each singer to learn the words.
He walked in to give his performance in front of the directors. As he hit the high note, they stopped him and said,
“All right, that’s fine, thank you very much.”
Turns out the directors weren’t looking for polish. They wanted raw talent, and Levy had a lot of it.
When he went back, he picked Aquarius once again despite not knowing most of the lyrics still.
Levy just assumed they would stop him again.
They didn’t, and this time he hit the high note, and they responded that it was perfect.
At the final call back, he was seated next to Levy was his college friend Martin Short. The two had gone to Westdale high school, then McMaster University together where Levy was the vice-president of the McMaster Film Board, while Short earned a degree in social work.
Both had met Ivan Reitman at the university.
Levy convinced Short to audition for Godspell before he graduated.
He had given himself a year to give acting a shot and after auditioning for a commercial, he showed up to sing My Funny Valentine at the initial audition.
Short said in his memoir,
“I had never seen so much patchwork denim and rampant bralessness in my life.”
And here he was with his buddy at the final audition where the pair was asked to improvise one of the show’s parables.
Levy told Short that he would narrate the first half, and Short could follow with the second half.
When Levy opened his mouth, what came out was an impression of television host Ed Sullivan reading a parable.
Short said,
“Eugene kind of took over. Our parable killed because of Eugene. I think I got in because of Eugene.”
Short and Levy were added to the show. Levy said to the Hamilton Spectator,
“I’ve never been in a play more than eight nights. Right now, I love that idea.”
Hoping to join the comedic duo was their friend Andrea Martin.
Levy had met the young actress who had recently moved to the city. The two briefly dated but remained friends. Martin said of getting cast,
“I knew that this was a vehicle for somebody with my talent, or personality, or clownmanship, or whatever it was. So, it meant a lot to me.”
In her first audition, she picked a song that was in her words, the wrong song to audition with and the unimpressed directors didn’t let her finish her performance.
Martin Short said,
“I remember seeing Andrea’s face when she didn’t get picked. She was devastated. She wanted it so much.”
Losing out on the part was tough, and to deal with the pain she went to the gym every day for two weeks.
Then one day, she was in the sauna when she got a call Eugene Levy was on the phone and told her an actress had dropped out.
Levy invited her to a cast party they were having the next night that’s where she met the director and by being herself won the part.
Already cast in the show was Victor Garber.
Easily one of the most gifted actors among the bunch, Garber began acting when he was nine in 1958. He later enrolled in the children’s program at the Grand Theatre, and by the time he was 16, he was studying acting at Hart House at the University of Toronto.
In 1967, he joined a folk music group called The Sugar Shoppe, who had a top 40 hit in 1968 with the song Canada. Two years later they performed on the Ed Sullivan Show but by the time Garber was sitting in the final callback, the band was on its last legs and less than a year from officially disbanding.
During the final callback, Victor Garber sat with his guitar and afterwards said.
“I accompanied myself and I was very confident, and it was in my range, and I could sing it effortlessly.”
Levy said of his audition,
“It’s just gloriously beautiful and he hits an extremely high note at the end of it. And a hundred people auditioning give him a standing ovation.”
It came as no surprise to anyone that Garber not only got into the show but was given the main role of Jesus.
And accompanying the cast through their auditions was a young seated at the piano named…
Paul Shaffer.
Born in Toronto but raised in Thunder Bay, his father Bernard Shaffer loved jazz, while his mother Shirley loved showtunes.
When he was 12, the family went to Las Vegas to watch Nat King Cole perform.
It was an experience that reframed Shaffer’s life.
He was a gifted pianist; as a teen he played the organ in a band called Fabulous Fugitives with his schoolmates in Thunder Bay.
Later he joined the Flash Landing Band that toured Western Canada.
He studied music at the University of Toronto but was ready for the next step.
To pass the time, he went to friend’s auditions and accompanied them on the piano while charging $20 each.
For Godspell he played for two friends and impressed Musical director Stephen Schwartz who called him over and asked him to play the rest of the auditions and said,
“You seem to know all the songs, and this guy I have doesn’t seem to.”
He did such an amazing job that day that Schwartz asked him to get a band together and conduct the entire show.
Shaffer said,
“I wasn’t even there to audition. I was there making 20 bucks. I had never conducted anything.”
Schwartz said,
“He was just one of the best keyboard players I’ve ever heard.”
One of the young actors he accompanied was a young woman with pigtails who also reached the final callback.
Her name was Gilda Radner.
Radner wrote in her autobiography, It’s Always Something,
“The notice said you had to act out a parable and sing a song you loved to sing. I worked hard on my audition and mastered my favorite song, “Zip-a-Dee-Doo-Dah.”
The directors loved her enthusiasm and clear talent… and also her undeniable charm.
Shaffer said of her audition.
“It was the cutest thing in the world, but she knew exactly what she was doing.”
Along with Garber, Martin, Radner, Levy and Short, Gerry Salsberg, Avril Marie Chown, Ruby Webb, Valda Aviks and Jayne Eastwood. s picked up the remaining five parts.
Directors cast Dave Thomas, another future star, as an understudy in what became his first stage role.
With so many amazing actors ready to hit the stage you might be wondering if there are any notables who auditioned but were left out There is one name you’ll recognize.
Catherine O’Hara.
The comedic genius went on to great success on SCTV with Short, Levy and Martin, followed by roles in Beetlejuice and Home Alone.
Most recently she coupled up with Levy and won a shelf worth of awards including an Emmy for playing Moira Rose on Schitt’s Creek
As Shakespeare once said “All the world’s a stage, and all the men and women merely players. They have their exits and their entrances; And one man in his time plays many parts.”
And in this case O’Hara would exit while the rest of the cast prepared for their debut in front of a crowd.
The cast would spend the next six weeks rehearsing up to 12 hours every day.
While they did producers worked on securing permission from the Liquor Licence Board of Ontario to serve wine to the audience in a symbolic communion just prior to intermission every night.
Each performance used between 15 to 22 litres of wine.
When their attempts failed, they turned to grape juice for everyone.
They also had to get permission from the government to use a champagne cork popper.
In the show the popper is used in a false-bottomed bottle from which coloured streamers pop out.
Seems innocent enough but US-produced champagne cork poppers charged with gunpowder had been outlawed by a 1971 ruling and were considered unauthorized fireworks under the Explosives Act
(we need a conclusion to this anecdote here).
On June 1, 1972, after a week of previews, Godspell opened to the public at the Royal Alexander Theatre.
Almost immediately, it was clear that something special was happening on stage.
During intermission, hundreds of people in the audience tried to hug the cast.
One unnamed critic, only halfway through the show, stated that it was terrific.
Victor Stanton of the Waterloo Region Record wrote,
“The message of Godspell, the rock musical based on the Gospel according to St. Matthew, wasn’t left behind when the opening night audience left the Royal Alexandra Theatre.”
Within seconds of curtain call a thunderous standing ovation was there to greet the ten performers.\
They called the performers back onto the stage five times with resounding bravos.
Herbert Whitake of the Globe and Mail wrote,
“So much mime, charades, vaudeville routines, the Game, animal impersonation, body puns and a lot of ventriloquism have been brought into play that you might have to see this Godspell several times before you felt you had absorbed all its dazzle.”
Even the Church approved, and some clergymen were fans of the production and its take on the Gospel of Matthew.
Reverend Ernest Marshall Howse wrote on June 8, 1972,
“Godspell will not become the authorized spoken version of the New Testament, but it may well be counted one of the colorful renderings. If it is burlesque, it is burlesque with affection, not with scorn, and, in its own way, it may embody a spirit vital to the Gospels.”
But not everyone was enamoured, and not all reviews were positive.
The Toronto Star wrote,
“In general, the hoopla was more amusing than the hosanna. For all its wide-eyed, even wild-eyed intensity, Godspell itself is elementally phony. It has a synthetic soul and a computer heart…Garber, an intelligent performer, suffered most, as Jesus, from the consuming fey holiness, but at least he didn’t have the over-awareness of his own talent which tripped up almost everybody else.”
Victor Garber was excellent as Jesus.
He was so good in fact that just a month later he had to leave the stage to play Jesus on film.
Before he left, Garber and Gilda Radner took pictures in an instant photo booth.
She wrote on one of the photos, over Garber’s face,
“I don’t care, I got the movie.”
Garber said later,
“I didn’t want to leave. But it brought me to New York. And that’s where I knew I was meant to be.”
Shaffer was also asked by Schwartz to play on the movie soundtrack.
Shaffer didn’t understand why he was asked when New York City had so many excellent keyboard players.
Schwartz told him,
“They don’t hit the thing hard. That’s what you do. That’s why I like you.”
American actor Don Scardino, who would later play Jesus in the 1976 Broadway production, replaced Garber until May 1973 when Eugene Levy took over the role.
The promotion came with a bit of a problem.
You see… Jesus begins the show wearing shorts and socks on stage and Levy is… follicly defiant….
Producers worried his hairy body would shock children during matinees and asked him if he would be willing to wax his entire upper body.
He said,
“I am doing no waxing for this.”
They compromised with Levy wearing a tank top.
With so many gifted comedic performers on stage, improvisation was always a big part of Godspell and in Toronto there was no one better than Martin Short.
As a youth, he had created an entire imaginary world in his attic, where he portrayed characters in shows and whatever else came into his head.
One night, Valda Aviks was unable to sing due to an illness.
When she asked if anyone could take her song, Short volunteered.
As they rehearsed, Short couldn’t remember the words to the song so he just started making them up.
Jayne Eastwood was sitting beside him and said.
“I laughed so hard I wet my pants.”
And as the performances went on, the cast made a game of making each other break with humour and no one was better at it than Andrea Martin.
During one performance when they were all on stage in a circle, she told Martin Short to stop doing the opening speech like an Italian.
He didn’t know what she was talking about.
As he did his opening speech, he turned to Martin and saw a dinner roll lodged in her mouth.
The audience couldn’t see it, but every cast member could.
Levy said of the incident,
“When Jesus finishes, we break from the circle and get into our positions and start the prologue. Marty’s first line, he couldn’t get it out because he was laughing. And then it goes to the next person and they’re laughing. And then the next person. And the stage manager later said he had his hand on the light switch, and he was going to blackout the show and make an announcement to the audience that, ladies and gentlemen, we’re going to start this show from the beginning. But for some reason, we just skated past that point and continued.”
Andrea Martin said about the incident.
“Marty and I certainly made each other laugh and we were terribly unprofessional. But because it was Godspell, you couldn’t tell that we were being unprofessional. It was all under the umbrella of goofiness.”
The closeness on stage spilled into their personal lives too.
After shows, everyone would gather at 1063 Avenue Road in Toronto, where Eugene Levy and Martin Short shared a house together.
At these little get-togethers, the cast would perform for each other.
Everybody was new to the industry, generally unknown and just enjoying their youth together.
When in town Paul Shaffer would get up and play the piano.
And for him the experience changed him, it made him more outgoing and happier.
He said,
“I just gravitated toward them. My goodness, these people seem to be having more fun in life than I’m having. And I kind of infiltrated the group and they were nice enough to let me in. I was a very shy kid from northern Canada, but I became a little more outgoing just as a result of hanging out with them. Your vocal level has to come up a little bit just to get a word in edgewise. And I changed. My personality changed.”
Martin Short tried to have parties like that when he moved to Los Angeles in the late-1980s, but it wasn’t the same.
He said,
“I started doing parties like that at my house and people hadn’t done them. There were people getting nervous. You’d also have Steven Spielberg there.”
The parties in Toronto would go until five in the morning, something that cost Jayne Eastwood a boyfriend.
She was fine with it, as she had a crush on Eugene Levy.
And there was other showmances.
As mentioned before, Levy and Martin had briefly dated before the show.
Martin Short and Gilda Radner started dating during rehearsals.
They remained together for much of the show’s run, but Radner was four years older than Short, and the relationship wasn’t always picture perfect.
He said,
“She was more complex than I thought she was from initially meeting her. So that would lead to fights and that would lead to makeups. She had lots of psychological scarring from her childhood. And I come from a different place. My parents had just died. So, I was thinking, “God, if you are blessed with talent and everyone loves you and you have family money, what’s the problem?” But I was too young to understand that that doesn’t solve it.”
With so much positivity in the air the Toronto production of Godspell which was only supposed to run for a few dozen performances, extended its run.
When their time at the Royal Alexandra Theatre ended on Sept. 3, 1972, the show moved uptown to the Bayview Playhouse in Leaside for another six weeks which quickly became another 54.
But their run wasn’t without disruption.
On Oct. 15, 1972, three hours before curtains were raised, a boiler explosion rocked the Bayview Playhouse, and masonry rained down on 500 seats.
Several windows were smashed by the blast, and the stage curtain was blown through the ceiling.
Thankfully, the theatre was empty at the time.
It was believed the show would have to close for two months, but in the end, it only went dark for a week.
During that brief hiatus, the cast held a wake for their lost week of performances at the Avenue Road house.
Levy said,
“We’re just stunned. I’ve never had a production blow out from under me like this.”
The show also went on the road to various churches in Toronto, beginning with the St. Michael’s and All Angels Anglican Church on Nov. 4, 1972.
On Jan. 22, 1973, a performance was put on at Christ’s Church Cathedral in Toronto.
Half an hour before the show started, the church was packed with people and by the end the audience was enthralled Margaret Faulkner, whose son was an altar boy, stated it was the largest crowd she had ever seen at the church while longtime parishioner, 87-year-old Elizabeth Nicholds, said,
“I just couldn’t take Communion. I was too disturbed. I have never gone to church in my life for any reason but to worship God. How many of those here are just here out of curiosity? I’m just sick at heart. Why the exhibition and all the racket?”
Another long-time parishioner Lena Wilson argued that while it was a bit loud, the singing was beautiful.
In April 1973, the movie version of Godspell was released in theatres, starring Victor Garber as Jesus.
While the film was greeted enthusiastically by fans elsewhere, in Toronto, the response was reserved.
It just didn’t compare to what they were seeing onstage night after night.
The Toronto Star wrote,
“For some, the images on the screen never did seem to get out and touch the audience…The film didn’t seem to touch base with some of the expectations moviegoers take into the movie.”
The show ran at the Bayview Playhouse until August 1973, finishing with its 488th performance.
At the time, it was the longest running play in Canadian history, surpassing Oh Coward and Hair, which had 470 and 432 performances respectively.
The musical may have ended but the bonds between cast members remained, and deepened as they sought to work together in future television and film productions.
Friendships remained but showmances not so much.
Just under a year after Godspell closed, Martin Short and Gilda Radner broke up.
Shortly after, Short ran into Gilda Radner’s understudy Nancy Dolman.
He had always been struck by her beauty, and the two started dating.
They married in 1980 and remained married until the day she died of ovarian cancer in 2010. He is now rumoured to be dating “Meryl” Streep who has been described as “the best actress of her generation”.
. Dolman’s brother, Bob, married Andrea Martin and they had two children together.
Short and Levy remain very close. Eugene even officiated the wedding of one of Martin’s sons and the pair played opposite each other in the latest season of Only Murders in The Building… alongside… Meryl Streep and Andrea Martin
As for Paul Shaffer in the early-1980s, John Belushi wanted him to be in the Blues Brothers movie, since he had helped put together the Blues Brothers Band.
At the same time, Gilda Radner asked him if he could help on her comedy album.
The Godspell connection ran deep, and Shaffer chose to help Radner.
Shaffer said,
“No question about it. I went back further with Gilda. With John, back in ’78, I had put together the band, musician by musician, and so not to get to go and be in the movie was tough.”
Two years later when he was in a car accident in Hawaii, Shaffer spent 12 days in the hospital before he could return to Los Angeles.
He arrived in the city and rented a hotel room to recover.
Then, Eugene Levy showed up, checked him out of the hotel and put him in his guest room where Levy and his wife Deb could take care of him.
To this day, Victor Garber still video chats Martin Short, and occasionally Jayne Eastwood will drop in at Levy’s Ontario vacation home just to say hi.
Andrea Martin said of their time together in that glorious year making Godspell,
“This was Toronto in the ’70s. It wasn’t even New York in the ’70s. Nobody was really thinking, “Huh, how am I going to do this so this will get me that?”I think we were terribly delighted that we were making money. That we could make each other laugh.”
But…what happened to those talented actors after it? I’ve shared about a few of them but what about the rest?
Jayne Eastwood didn’t reach the level of fame as many of her cast members, but she has had an incredibly productive career.
She has nearly 300 acting credits to her name, including as Mrs. Rockchewer in The Neverending Story, Mrs. White in My Big Fat Greek Wedding and Judy in The Santa Clause.
She has also acted in The Care Bears, Dawn of the Dead, Walk Hard: The Dewey Cox Story, Anne of Green Gables and SCTV, just to name a few.
Victor Garber was the breakout star early one and he went on to have a solid career, appearing in Titanic Legally Blonde, and most famously as Jack Bristow on Alias.
He has received six Emmy nominations, four Tony nominations and the Order of Canada.
Andrea Martin became famous on SCTV, followed by scene stealing roles in My Big Fat Greek Wedding, The Rugrats Movie, Hedwig and l and so much more.
She has won two Emmys and two Tonys in her career. One of which came from her role in Pippin, which was created by Godspell composer Stephen Schwartz.
Paul Shaffer became David Letterman’s musical director, band leader and sidekick from 1982 to 2015. During that time, he picked up the Order of Canada, four Emmy nominations, a Grammy and a star on Canada’s Walk of Fame.
Martin Short has had a prolific career since Godspell He has won a Tony and two Emmys. Short also has the Order of Canada and a star on Canada’s Walk of Fame.
Short’s best friend, Eugene Levy, went on to star on SCTV, and starred in the quirky Christopher Guest mockumentary films like Waiting for Guffman and Best in Show.
He became a household name as the awkward dad in the American Pie series, and went on to co-create Schitt’s Creek with his son Dan Levy and starred opposite Godspell castoff Catherine O’Hara. He has earned four Emmys, a Grammy, the Order of Canada and a star on Canada’s Walk of Fame.
Gilda Radner became one of the seven original cast members of Saturday Night Live in 1975, remaining with the show until 1980. She earned an Emmy and Grammy. Her life was tragically cut short by ovarian cancer in 1989 when she was only 42.
Understudy Dave Thomas also joined SCTV and became one half of the famous Bob and Doug McKenzie duo. He has had a steady career since the 1970s, winning an Emmy and receiving the Order of Canada for his work.
Oh…and one person who was in the background of Godspell was saxophone player Howard Shore. You may not know his name, but you have certainly heard his work…
As you watch Lord of the Rings, listen to the way Howard Shore makes you feel.
Howard Shore’s scores for The Lord of the Rings contain, perhaps, some of the greatest music ever written for film.
It acts as a reflection of the cultures of Middle-earth, outlines the vast emotional landscape of the film and at times acts as a narrator that ultimately makes us care deeply about Frodo and Sam.
The saxophonist from Godspell went on to win three Academy Awards for his work scoring the films. He also has three Golden Globes, four Grammys and the Order of Canada.
If you are keeping track, that means the young cast and crew of Godspell eventually earned four Orders of Canada, ten Emmys, five Tonys, three Oscars, three Golden Globes, seven Grammys and three stars on Canada’s Walk of Fame.
Not bad for a ragtag cast of incredibly talented actors in Toronto.
And be sure to check out the upcoming documentary from Judd Apatow about the legendary Godspell group from 1972 in Toronto.
