A gay version of Jesus was born, preached to disciples, created miracles, and was finally crucified on the City Centre Stage in Red Deer on Thursday.
But Terrence McNally’s controversial passion play, Corpus Christi, wasn’t seen by the audience that would be most moved and affected by it.
A quick glance at the 80 or so people who gave the unorthodox drama a standing ovation on opening night showed many of the same young faces that have been Ignition Theatre’s mainstay over the past seven years.
While it isn’t surprising that older, more religiously inclined people stayed away from a play considered “blasphemous” by the Catholic League, it’s still a shame.
For although Corpus Christi is a thought-provoking, well acted, and interesting production, Ignition Theatre is again mostly preaching to the converted — that is to say, to liberal theatre-goers who, in this case, tolerate the idea of Jesus being represented as homosexual.
While same-sex couples have made big strides over the dozen years since this play debuted, including attaining the right to marry in Canada, many people still mistakenly believe that a hard-wired sexual orientation is actually an immoral lifestyle choice.
Homosexuals and lesbians who are condemned for being born gay tend to feel like societal outsiders — much as Jesus must have felt when he threatened the established order of his time. McNally is drawing an obvious parallel by making his contemporary Saviour gay.
Corpus Christi was clearly written by someone with strong religious beliefs. For that reason, this play, despite its strong language and themes, would resonate most strongly among those who believe in the story of Jesus — not among the atheists or agnostics who have nothing invested in it.
Director Matt Grue, who is folding Ignition Theatre after Corpus Christi closes on June 16, goes for a very straight-forward interpretation of the script. The anachronistic drama starts out by virtually mocking the nativity, with the Three Wise Men bringing Cuban cigars to the Holiday Inn, but quickly evolves into a very literal interpretation of the Biblical story.
Jesus, called Joshua in the play, raises the dead, doles out an endless supply of loaves and fishes, hosts the Last Supper, and preaches love and tolerance.
In the end, it isn’t his representation as the Son of God that rattles the rabbis, but his claim that we are all sons of God — even the gay folks among us.
The play’s most contentious aspect is probably the kisses shared by Joshua and Judas, But no homosexual sex is enacted and these kisses seem almost chaste.
There are other controversies, as well, including a Mother of God who rejects her son and is, in turn, rejected by him. The devil attempts to seduce Joshua away from God by appearing as James Dean. And several cruel nuns and priests are depicted, which might be McNally’s way of settling some childhood scores.
While the play starts out slowly, the 14-member ensemble cast does an exceptional job of maintaining audience interest throughout the familiar story that ends with a gruelling climax.
Among the stand-outs is Shane Gramlich, as the innocent central character. Joshua doesn’t want to be God’s spokesman, but quickly rises to the challenge, embracing the divine message of love and forgiveness. “When we don’t love each other, we don’t love God,” says the Texan.
Alexi Pedenault depicts a memorable, if ambiguous, Judas. While the devil makes him betray Joshua, there’s also an element of modern, reality-show notoriety in the act — Judas wants to be remembered after the rest of the Disciples are dust.
Jillian Tallas plays a Mary that’s obviously in over her head with the whole Virgin Birth thing. She looks at her baby son quizzically, asking “Who are you?” and then never cares to find out.
One wonders if Mary’s negative depiction is connected to McNally’s feelings about his own mother. Regardless, it’s likely to offend.
But all faiths hang on the strength of personal belief, and Christianity has certainly survived worse.
Ignition Theatre has been testing social mores since starting to offer professional, cutting-edge local plays in 2005. While Grue didn’t expect Corpus Christi to change rigidly held opinions on homosexuality, he hoped the play would prompt discussion.
That’s what Ignition Theatre’s high-calibre productions have consistently done over the years — from the remarkable My Name is Rachel Corrie to the explosive Hedwig and the Angry Inch and the super creepy Bug.
Red Deer’s theatre scene will be much poorer for Ignition’s loss.
But the gauntlet has been thrown down for other ambitious and enterprising Red Deer College theatre grads to hopefully pick up in future.
lmichelin@www.reddeeradvocate.com