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..Calendar Live LA Times September 1, 2006
'Corpus Christi' makes its point
David C. Nichols; Daryl H. MillerControversy has dogged "Corpus Christi" since 1989, when it almost didn't open at the Manhattan Theatre Club after bomb threats. That and subsequent flaps over Terrence McNally's gay Passion play miss its basic devotion to the tenets of its subject. In director Nic Arnzen's heartfelt take at the Zephyr Theatre, a multiracial, gender-bent ensemble led by the affecting James Brandon lands its core message past tonal inequities.Transplanted from the Metropolitan Community Church in the Valley, "Corpus Christi" uses ritual elements to bring the Gospels into same-sex idiom. As the audience settles in, actors amble onstage, hauling platforms and hanging Christmas lights.McNally begins his retelling with a baptismal prologue in which each player receives his or her role from John the Baptist (Suzanne Santos). Though patently sincere, this extended sequence flirts with precocity. But once only two men remain in line, the ambience becomes electric. Smoldering, sensual Judas (an admirable Austen Rey) perceives that he isn't the Messiah, leaving sensitive Joshua (Brandon) to follow that destiny through James Dean-era Texas.Brandon avoids saintly attitudes as Joshua, radiating an inner spontaneity that ignites against Rey's understated Judas. Their 11 committed colleagues slip in and out of direct address and multiple roles without ego, a true group performance.Kitsch and catharsis sometimes collide. Not all of McNally's spiky analogies and cheeky narrations hold. Nonetheless, there is only honest intent here, and Arnzen deftly controls the spatial shifts and diverse moods, capably assisted by lighting designer Vic Delco."Corpus Christi" is neither blasphemous nor miraculous, but it is theatrically apt and spiritually yearning, for all its quirks. Protesters, what would Jesus do?— David C. Nichols