STAGE REVIEW : THE GOSPEL ACCORDING TO HARRY CHAPIN

Considered purely as theater, Harry Chapin’s “Cotton Patch Gospel” is an agreeable bluegrass musical that needs a little more smoke--a little more of the stuff that makes the spine prickle when “The Devil Down in Georgia” comes over your favorite country music station.

But, speak of the Devil, “Cotton Patch Gospel” (at the Westwood Playhouse) is also a treatment of the life of Christ, and it will be of particular interest to believers. Some may take offense at the idea of making Christ a backwoods preacher who ends up lynched for having scandalized the best people in town, including the other preachers; but most will be willing, at a minimum, to consider the parallel.

All, I think, will be refreshed by Tom Key’s portrayal of Christ as a strapping young man subject to real mirth and real confusion, rather than as an otherworldly figure serenely going about His Father’s Business. “Godspell” and “Jesus Christ Superstar” also stressed Christ’s humanity, but “Cotton Patch Gospel” brings the idea down home, to the laid-back sound of a group called the Cotton Pickers.

Besides playing Christ, St. Matthew, Judd (Judas) and most of the other people in the story, Key is co-responsible (with director Russell Treyz) for the libretto, based on Clarence Jordan’s “The Cotton Patch Version of Matthew and John.” The parallels with the New Testament story almost all tally, many of them humorously. For instance, Mary--a country girl--gives birth to her little boy in a trailer behind the Dixie Delight Motor Lodge outside Atlanta, all the rooms having been booked for a Bible convention.

As in the original, Jesus is chagrined to find that more people hearken to his miracles than to his message--including his somewhat thick disciples. As in the original , it’s the religious Establishment, in collusion with the governor, that decides he’s got to go.

And as in the original, Jesus suffers real tribulations, not always sure where this is all going to end. That gives a real note of triumph to the Resurrection. “I’m here!” Keys yells joyously. But the “here” is elongated. For a moment it’s “I’m he!” I AM the son of God!

We also recognize Judd’s uneasiness in betraying his friend. “I think Jesus needs . . . help,” he mutters to the priests. “Psychological help.” It may not even be a rationalization.

If Chapin’s score had matched the shrewdness, the fun and the occasional power of the book, “Cotton Patch Gospel” could be commended to believers and non-believers alike. Unfortunately, his lyrics and tunes have the blandness of formula country stuff, never reaching the best work in that genre. The tunes perk along--lullabies, comedy songs, rousers--but the evening doesn’t rise on their strength, as ought to happen in a musical. Compared to quality bluegrass, this is AstroTurf.

No complaints about the performers,who work without amplification, at some loss to our understanding the lyrics. Pete Corum, the Cotton Pickers’ bass fiddle man, is a real ace. His slap solo work in “Are We Ready” is the evening’s most vital musical moment, an indication of how this show could have blown off the roof with a really potent score.

In fact, people were on their feet as “Cotton Patch Gospel” ended Wednesday night, a tribute to its vivacity as a sermon and the cheerfulness of the performers. But, in this case, the Devil really does have the best tunes.

‘COTTON PATCH GOSPEL’ A musical at the Westwood Playhouse, based on Clarence Jordan’s book, “The Cotton Patch Version of Matthew and John.” Book Tom Key, Russell Treyz. Songs Harry Chapin. Director Russell Treyz. Musical director Scott Ainslee. Sets and costumes John Falabella. Lighting Randy Taylor. Musical arrangements Tom Chapin. Company tour manager Gary Whitehead. Production stage manager Dallas Alinder. Producers Michael D. Meece and MDM Ventures Inc., in association with Dennis Eubanks and Robert McLanahan. Produced in cooperation with Bill Fegan Attractions Inc., by arrangement with Philip M. Getter. With Tom Key and the Cotton Pickers (Pete Corum, Lyle Swedeen, Barry Taballo, Sonny Franks). Plays Tuesdays-Fridays at 8 p.m., Sundays at 7:30 p.m., with Saturday and Sunday matinees at 2:30 p.m. Closes Dec. 22. Tickets $15-$20.