FLINT, MI–Despite the advice given to Gypsy Lee Rose, you gotta have more than a gimmick if you’re going to get a hand.

That Flint Repertory Theater’s Godspell earned a standing ovation can be credited to Director Michael Lluberes taking his original concept for the playful rock musical far beyond a gimmick. In the production running through Oct. 20, he places the action in an unforgettable setting that amplifies the themes of sustenance, renewal, life, emotional rebirth, connection and the flow of fellowship and community.

The setting? A swimming pool.

Yes, in the small space that is the Elgood Theatre at the Flint Institute of Music, A.J. Guban designed a waist-deep swimming pool large enough to accommodate the 10-person cast in an exuberant and joyful rendition of the 1971 musical.

It’s an infectious show that entices the audience to find a swimsuit and join the cast. The ensemble creates a community that one wants to be a part of, a community that plays, that loves, that teases, that works through its issues and that bonds through storytelling.

Every member of the ensemble taps into a child-like wonder that makes them seem like true siblings, ones with a strong enough bond that they can squabble without rancor and love without inhibition.

Godspell was created through improvisation and the royalty holders continue to encourage re-interpretation, new lines and creative approaches. It’s the perfect show for Lluberes who, during his tenure at Flint Rep, has re-imagined many classics so thoroughly that they are as fresh and compelling as—and nearly indistinguishable from–the new works he brings to the stage.

Lluberes’ conception of “Godspell” didn’t end with “let’s put it in a swimming pool.” His imagination infiltrates each song, each story, creating a robust illusion and the impression that this story was always meant to be told in a swimming pool.

The musical opens with fear broadcast from the perimeter, a warning that connects audiences briefly with the dark world that doomsayers would have them believe is inescapable. Then, with a boost from Chelsie McPhilimy’s lighting design, everything brightens and the ensemble is drawn into the space where a different sort of world is created, a world filled with fraternity, hope and love.

Much of Godspell involves the telling of Jesus’ parables as recorded in the Gospel of Matthew in Christian scriptures. Lluberes and his designers instill each story with whimsy and fun, often through props pulled out of hidden compartments in the set or brought in quickly from off-stage. Such items as buckets, rubber duckies, lanterns, inflatables, beach balls and swim noodles do more than just support the setting, they further illustrate the stories and themes.

Stage Manager Melissa A. Nathan and production stage manager Ernie Fimbres conduct a tight parade that allows the team’s creativity to blossom without pauses or interruption.

The ensemble looks completely at home in the water, expressing a joy reminiscent of childhood summer pool parties. They splash, they jump, they duck underwater (sometimes for impressive amounts of time) and play games.

Even while doing all that, they project naturally and confidently (you can’t wear body mikes when you’re in the water), blending their voices with beautiful harmony. Godspell is filled with iconic, well-known musical numbers and each soloist injects individual personality and power into their songs.

Cy Paolantonio creates visually engaging and original choreography both in and out of the water.

While Godspell is truly an ensemble piece that resists classifying anyone as a lead performer—and this cast in particular put in equally strong performances—there were a few notably memorable moments.

Kyle Patrick as Jesus and Enrique Miguel as John the Baptist/Judas exuded the charisma that made their characters leaders of people. They possessed a chemistry showing how their relationship could withstand and survive struggles and conflicts.

Floating lanterns helped Patrick put in a moving performance of “Beautiful City,” perhaps the most impassioned and memorable songs of the evening, an aspirational number that all but begs people to come together to create a world of hope.

In the crucifixion scene, Patrick revealed that he is more than a triple threat with powerhouse singing, acting and dancing. He is also a skilled aerialist and gymnast. His work added a breathtaking element to an already emotional scene.

Shayna Blass opened the second act with a risqué and fun performance of “Turn Back, O Man,” providing laughs before the more serious moments that were to follow.

Costumer Brandon R. McWilliams decked the performers in suits that promoted the playful colorfulness of the show without any distracting hypersexuality that could be tempting when making use of swimwear.

In his director notes, Lluberes describes Godspell as a gift to the city of Flint, a place where water has many meanings. He further stated that to him, the musical is not a show about religion, but about creating a community. Religion has its greatest influence when it provides a language that translates into secular settings. This production of succeeds in elevating an example of a joyful humanity and what society could look like if its members choose to connect with love and turn away from fear-mongering.