Gusto Abounds in Staging of Biblical Story : Musical Comedy: Lamb’s Players Theatre produces ‘Cotton Patch Gospel’ at the Lyceum Space.

The initial meeting between Jesus and John the Baptist is one of the more solemn events chronicled in the Gospels of the New Testament. In the encounter, Jesus meets John the Baptist along the Jordan River, is baptized, and afterwards, Jesus explains to his followers that baptism is a spiritual beginning that holds as much significance as physical birth.

In the Lamb’s Players Theatre production of “Cotton Patch Gospel,” the scene is portrayed with a somewhat less reverent tone: “Hey Buddy!” Jesus shouts as he approaches John the Baptist at the Chattahoochee River.

“It’s time! I’m here to be dipped!”

“Cotton Patch Gospel,” adapted from “The Cotton Patch Version of Matthew and John” by Clarence Jordan, opened Thursday in the Lyceum Space at Horton Plaza. The musical comedy tells the story of Jesus as if he were born in contemporary Georgia, complete with hillbilly wise men, truck-driving good Samaritans and a four-piece bluegrass band playing on stage.

It may elicit strong reactions from people with strong religious views, but the play stands on its own as a light, whimsical piece of musical comedy theater. Aside from the contemporary Bible Belt transformation, it provides little that is new in terms of the interpretation of the Gospels.

The Lamb’s Players production, co-directed by husband-and-wife team Robert Smyth and Deborah Gilmour Smyth, is done with economy; it wastes little time between musical numbers, religious in-jokes and sight gags. The tone changes somewhat, however, in Act II, as the play becomes more heavy-handed in its religious message.

Quality acting is this production’s strength. The three-man ensemble clearly enjoys performing this play, and appears undaunted by the fact that each actor plays a dozen or more roles. The book, written by Tom Key and Russell Treyez, calls for sudden character changes throughout. The Lamb’s Players cast solves this problem by simply changing hats as they change roles, a suitable convention that adds to the show’s friendly, folksy feel.

Rick Meads stands out as the steadying force in this cast. Meads’ timing and good-natured appeal fit this production perfectly. As Johnny (a Southern relative of Gospel-writer John, one must assume), Meads helps narrate the story of Jesus’ birth with precision and wit. Meads’ portrayal of a young Jesus (wearing a Boy Scout hat, of course) is strong and consistent.

San Diego veteran Damon Bryant also does good work in this production. Bryant, with eyes the size of dinner plates, portrays a wonderfully maniacal John the Baptist, as well as a sly, sinister “Governor” Pontius Pilate. He also produces solid narrative work in his depiction of Matthew.

Kenneth Wagner, somewhat uneven throughout the show, drew the most laughter with his various characters, which included a cartoonish caricature of the Devil and a hilarious, money-grubbing evangelist. During Wagner’s evangelist bit, the actor actually fell out of character and pleaded with the audience to stop laughing so he could continue with his lines.

Harry Chapin wrote the music and lyrics for this show with a lively sense of both comedy and country. Some of the best moments originate in Chapin’s music, particularly the rousing spiritual number “Are We Ready” and the tongue-in-cheek “Somethin’s Brewin’ in Gainesville.” Unfortunately, the Lamb’s Players cast has trouble hitting some of the notes. Both Bryant and Wagner struggle perceptibly as they get into the higher registers. Only Meads, a talented singer, sang with any sense of consistency.

A bluegrass quartet featuring George Chodorow, Sharyn Fischer, Dan Sankey and Chris Vitas remains on stage throughout the production and provides a strong musical foundation to the show. Deborah Gilmour Smyth’s choreography is the show’s weakest link. The play calls for a considerable amount of dancing and clogging throughout, and the actors seem uncomfortable as dancers. Perhaps compensating for the cast’s lack of skill, Gilmour Smyth choreographed some very basic routines. The routines proved too simple and too repetitive, however.

Still, what the Lamb’s Players group lacks in skill, they more than make up for in gusto. To the Smyths’ credit, they direct the focus on the production’s strengths--the strong acting and the witty written material--making “Cotton Patch Gospel” an enjoyable evening.

“COTTON PATCH GOSPEL”

Book by Tom Key and Russell Treyez. Music and lyrics by Harry Chapin. Based on “The Cotton Patch Version of Matthew and John” by Clarence Jordan. Co-directors are Robert Smyth and Deborah Gilmour Smyth. Choreography and musical direction by Deborah Gilmour Smyth. Scenic design by Mike Buckley. Costume design by Veronica Murphy Smith. Lighting Design by Nathan Peirson. With Damon Bryant, Rick Meads and Ken Wagner. At 8 p.m. Tuesdays through Saturdays, 2 p.m. matinees on Saturday and Sunday. At the Lyceum Space, San Diego Repertory Theatre, 79 Horton Place, 474-4542.