Normally when the theater doors open, you see a curtain or a darkened stage. When Diversionary Theatrer doors open, the 13-member cast are busy setting the stage. Rachael VanWormer is behind a broom. The others, when not gossiping, are moving the risers (two 2 X 8 footers and two 4 X 8 footers), which are used to create various scenes in Terrence McNally's Corpus Christi.
The premiere production took place about ten years ago in Manhattan. Corpus Christi, literally the body of Christ, has been picketed, threatened with damage to theaters, and even to the actors. It follows similar reactions to other high-profile productions such as Jesus Christ Superstar and "The Passion of the Christ." The reviews have varied from outright pans to accolades.
As the lights come up, VanWormer, as John the Baptist, anoints the actors ...giving them the names of the other eleven Apostles as well as Joshua (Trevor Bowles), aka Jesus. While the original New York cast was all white males, this cast is a mix of both gender and ethnicity. Director Nic Arnzen discussed his casting decision with the playwright, who thought it an excellent idea.
The costumes, neutral slacks and tops, are not gender-specific. The cast play many roles beside the apostles, including the opposite genders.
Corpus Christi mixes periods in telling the story of Jesus Christ from Bethlehem, replete with Christmas Carols, to the Cross. In one moment there are Roman guards, then Jimmy Dean in his Porsche. The feeding of the multitudes with never-ending bread and wine uses Wonder bread and a Big Gulp.
Kate Hewitt plays Matthew, with Jessica Parsell as doubting Thomas and Anna Rebek as Simon, the denier. Rich Carrillo is the villainous Judas. Peter and James are played by John Whitley and Jesse Allen Moore. Brian Mackey, Zachary Bryant, Scott Andrew Amiotte, Keifla, and Tom Doyle complete the twelve apostles as well as their other roles.
Corpus Christi is a complex telling of the story of Jesus within the context of relatively modern events and the alternative-lifestyle communities. One does have to be extremely attentive to follow the mix of the traditional story and many references to events of the day.
This is probably McNally's most controversial play, and it's not as focused as most of his other works. But director Arnzen and his excellent cast give us a fine production as they guide us along the classic tale, often in a car (rather than a donkey) while listening to contemporary sounds and Christmas carols.
Corpus Christi, even with some confusion, is a very interesting interpretation. The depiction of the Last Supper is a startling moment. What it is not is blasphemous. It is simply another take.
