‘Corpus Christi’ Sacrifices a Daring Sense of Purpose

It has gone this way before. A play or a movie hits the marketplace, preceded by word that it represents an affront to Catholicism, a flipped finger to true believers.

And then the work in question turns out to be a Wiffle ball. It’s true of Kevin Smith’s gabby, if amiable, theological scramble “Dogma,” now at theaters everywhere, in which a distant relative of Jesus Christ must save the world from a couple of avenging angels, played by the “Good Will Hunting” guys.

It’s also true of “Corpus Christi,” the ineffectual passion play by Terrence McNally now in its West Coast premiere, courtesy of Santa Ana’s Rude Guerrilla Theater Company.

A total of two protesters, one carrying a sign reading “Adam & Eve, NOT Adam & Steve,” greeted Saturday’s performance. In “Corpus Christi,” the Christ story is revised as a gay coming-of-age parable, in which the Son of God, Joshua, grows up isolated, revered (for a time) and ultimately persecuted in 1950s Texas.

While high-schooler Joshua takes solace in show tunes and sonnets, the larger plan emerges: He will spread the Word among the football-obsessed yahoos making life difficult for him, and those like him. So he gathers his band of followers and fulfills his destiny.

McNally’s spin combines ritual (the opening “baptism” of the actors) with conventional camp (the apostles play various small-town biddies) and lots of anguished screaming (there is a crucifixion, after all). His depiction of a gay Jesus-like martyr, surrounded by gay apostles, is enough to get plenty of folks riled. Two weeks ago a London-based Muslim cleric issued a death edict against McNally at the time of the play’s London premiere. A serious matter. The play itself, not without wisecracks, is intended seriously as well.

But McNally second-guesses himself at every step. “Corpus Christi” never establishes a compelling world, or layering of worlds, it can truly call its own. It’s too busy worrying about how it’s playing with those determined to be offended. This is one script that raises the question: Were earlier drafts more provocative, more daring? If a play doesn’t risk some hurt feelings or beliefs, it’s not trying very hard. It may, in fact, end up like “Corpus Christi.” Trying, period.

Director Dave Barton hits the material head-on, over and over, in a decent if unnuanced staging. He pushes the persecution and martyrdom scenes to their limits, and beyond. In an extremely uneven cast, only Jay Michael Fraley’s Joshua manages to relax into things.

For a better McNally play on the themes of betrayal, forgiveness and love, see “Love! Valour! Compassion!”

* “Corpus Christi,” Rude Guerrilla Theater Company, Empire Theater, 200 N. Broadway, downtown Santa Ana. Fridays-Saturdays, 8 p.m.; Sundays, 2:30 p.m.; also Thursdays at 8 p.m. beginning Dec. 2. No performances Thanksgiving weekend. Ends Dec. 19. $10-$12. (714) 547-4688. Running time: 1 hour, 50 minutes.

Keith Bennett: Philip

Sean Cox: Judas

David Cramer: John

Eric Eisenbrey: Thomas

Jay Michael Fraley: Joshua

David Gallo: Matthew

Aristotle Ibasco: Simon

Bryan Jennings: James

Aurelio Locsin: James the Less

Josh Marquette: Andrew

Jeff Marx: Thaddeus

Andrew Nienaber: Peter

Matt Tully: Bartholomew

Written by Terrence McNally. Directed and set by Dave Barton. Lighting by Jamie Sweet and Don Hess. Stage manager Patricia Ferguson.