Matters of Faith

“Sometimes it’s hard to tell which voice is God’s and which is our own wishful self.”—Elizabeth

This quotation is the central theme of Lucas Hnath’s The Christians, currently playing at the Blue Barn Theatre.

I don’t get to say this very often, but this show is absolutely perfect.  From top of the line direction, pluperfect acting, a gorgeous church set designed by Martin Scott Marchitto, a dandy little choir, and an intelligent script rippling with multifaceted characters and pristine dialogue, this show is nothing but tens.

Lucas Hnath rose to the challenge when he wrote the story of Pastor Paul, a megachurch pastor who rocks the foundation of his congregation when he announces there is no such place as hell from the pulpit.  From that shellshocking declaration, Hnath’s script proceeds to tackle the consequences of that belief.

The power of Hnath’s script is that, aside from asking potent questions about faith, it approaches the subject matter in very non-judgmental fashion.  There is neither rancor nor anger between the characters about Pastor Paul’s extreme change of heart.  There is only confusion, debate, and discussion as the multiple sides try to understand each other or make another see their point of view.  Because of this very wise approach this is a play for everybody from the devout to the uncertain to the non-believer.

Anthony Clark-Kaczmarek departs from his recent high energy comedic roles with a subtle, raw, and revealing performance as Pastor Paul which is certain to put him into the running for Best Actor come awards season.  Clark-Kaczmarek’s command of the dialogue is nothing short of astonishing as he delivers his lines with a soft-spoken, nearly hypnotic voice that seems to make every syllable an emotional beat of its own.  Clark-Kaczmarek’s interpretation of Pastor Paul is almost Christlike as he is a man of God who is leading his flock down a radical new path just as Jesus did.  The question is whether he is leading his people to Heaven or to Hell.

Clark-Kaczmarek’s performance is extraordinary as he navigates the many emotional twists and turns Pastor Paul takes on his trek and he does it with such humanness.  Even with Pastor Paul’s new vision, he still wrestles with doubt about the nature, possibly even the existence, of God.

Raydell Cordell III’s performance as Joshua, Pastor Paul’s associate pastor, is a feat of underplayed genius.  Cordell’s Joshua is the hardest hit by Pastor Paul’s new message as he was brought to Jesus by the pastor and believes acceptance of Christ as a personal savior is the one and only way to salvation.  Cordell brilliantly eschews the easy road of anger for a sad and deep disappointment in Pastor Paul.  He openly challenges Pastor Paul’s belief, but does so with an understated frustration which is best exemplified when he and Pastor Paul engage in a debate over interpretation of Bible verses.

Despite his disappointment with Pastor Paul, Cordell also infuses a great loyalty into Joshua’s character.  He never gives up on Pastor Paul, even going so far as refusing to supplant him as lead pastor and sharing a story about the death of his mother in a last ditch effort to convince Pastor Paul he is on the wrong path.  So earnest is Cordell’s performance that one and all will be deeply moved.

Bill Hutson does no wrong with his turn as Jay, an elder in Pastor Paul’s church.  Hutson’s portrayal of Jay is that of a diplomat.  He supports Pastor Paul due to their long friendship, but doesn’t agree with his ideas.  Hutson ably depicts a man who may be on the cusp of losing his faith.  Yes, he does believe in God, but his position on the Board of Directors for the church has had him focused on secular matters rather than spiritual ones and Pastor Paul’s proclamations just may push him away from faith once and for all.

Kaitlyn McClincy rolls a strike in her Blue Barn debut as Jenny, a congregant in Pastor Paul’s church.  Ms McClincy’s performance is as heartbreaking as it is illuminating.  Her Jenny had nothing before she found Pastor Paul’s church.  Divorced and broke, she found salvation, aid, and family with Pastor Paul.  In a heart-wrenching monologue which will have tears falling, Ms McClincy talks about having a faith so fervent that she tithed 20% of her meager earnings because she loved God so much and believed in Pastor Paul so much.  When she vocally wonders whether all of Pastor Paul’s good words were simply part of an elaborate con game, my heart shattered for her.

Jill Anderson provides a unique twist on the role of the minister’s wife with her portrayal of Elizabeth.  Ms Anderson’s Elizabeth does not meekly follow her husband down his rather difficult road.  She is strong.  She is smart.  And she does not accept her husband’s new way of thinking.  Ms Anderson gives the audience some interesting food for thought with Elizabeth’s logical argument about the inequality of her marriage with Pastor Paul as he always kept her in the dark about his questions, fears, and messages and is mesmerizing when she is willing to try to save the church by countering Pastor Paul’s message in her own Bible study group.

Susan Clement-Toberer may have topped herself with her direction of this piece.  The staging is magnificent.  The pacing of the story is rock solid.  The coaching of her actors is of championship caliber and she smoothly moves from beat to beat to beat, making the most out of each and every moment.

The Christians is the epitome of transformative theatre.  This show is going to give you a lot to think about.  Wherever you lie on the spectrum of belief in God, your beliefs are going to be challenged and that is a gift only the best theatre can grant you.  As two shows are already sold out, be certain to get a ticket as tonight’s nearly full house is an indicator of the monster hit this show will be.

The Christians plays at the Blue Barn Theatre through April 17.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 6pm.  There is no show on Easter Sunday (March 27) and the March 26 and April 2 shows are sold out.  Tickets cost $30 for adults and $25 for students, seniors (65+), T.A.G. members, and groups of 10 or more.  For reservations, call 402-345-1576 from 10am-4pm Mon-Fri or visit the Blue Barn website at www.bluebarn.org.  The Blue Barn Theatre is located at 1106 S 10^th St in Omaha, NE.

Find Your Grail

The search for the Holy Grail takes a turn for the absurd and ludicrous when God charges King Arthur and his Knights of the Round Table to find the cup of Christ in the raucous musical, Spamalot, currently playing at the Omaha Community Playhouse.

This story, based off of the movie, Monty Python and the Holy Grail, is actually a natural fit for a musical thanks to the unique, nonsense humor of Monty Python.  Since anything could, and often did, happen in Monty Python sketches, the thought of songs suddenly breaking out of nowhere seems like another day on the job for the Python crew.  The script is sharp and witty and a fairly good translation of the film due to the fact that it was written by Python alum, Eric Idle, who also composed the music with John Du Prez.

Even if you have seen the film, the musical promises lots of surprises with new scenes and characters not present in the original movie.  The flip side of this is that some of the classic moments of the film do not make it into the musical which may disappoint purists.  The new material is very good for the most part, but some of it is actually based off of old Python sketches causing those particular jokes to feel a bit forced since they were gags meant for something other than this play’s source material.

The directing of Mark Robinson and Jeff Horger is excellent.  This is a very high energy show and the pace never drags, slows, or pauses.  It is also very well staged and the two directors have shaped some strong, sharp performances from their group of actors.

Nick Albrecht blasts a home run in his Playhouse debut in the role of King Arthur.  Albrecht’s presence fills the theatre and his powerful baritone imbues Arthur with just the right blend of majesty, authority, and, dare I say, humility.  It is easy to see why people would want to follow this Arthur as Albrecht seems like a natural leader.  He also has a wry, subtle sense of humor best exemplified in numbers such as “Always Look on the Bright Side of Life” and “Knights of the Round Table” with the latter being a particular highlight due to his “dancing”.  At the same time, Albrecht was also capable of fine dramatic moments with “Find Your Grail” and “I’m All Alone”.

Melanie Walters nearly swipes this show from the rest of the cast with her turn as the Lady of the Lake (as well as doing double duty as the show’s choreographer).  Beginning as an otherworldly fairy who granted the sword, Excalibur, to Arthur, Ms Walter slowly morphs into a diva as her acting gets a little bigger each and every time she appears on stage, culminating in her big moment “Whatever Happened to My Part?” which is actually a massive gripe about her lack of stage time.  And, heavens, can she sing!  Aside from her featured number, Ms Walters’ nearly superhuman alto also belted out several variations of “The Song That Goes Like This” (once in a dead on mimicry of Bette Midler) that was a treat for the ears.  Her performance alone is worth the price of admission and was one of the funniest performances of the season.

I would like to know where Matthias Jeske has been hiding because his is a phenomenal talent.  Jeske is a marvelously versatile performer as he leaps between multiple characters in his Playhouse debut.  So skillful and nuanced were Jeske’s changes in voice and body language that I found myself looking at my program several times and was stunned to discover that I was watching the same actor that I had only seen moments before.  Whether he was the erudite, if slightly pompous, Historian, the imposing Knight who said Ni, or the land hungry, music despising king of Swamp Castle, Jeske could do no wrong in a stunning, tour de force performance.  Jeske was equally impressive on the singing and dancing side of things with gut busting turns as Not Dead Fred in “I’m Not Dead Yet” and Sir Robin’s chief minstrel in “Brave Sir Robin”.

Other standouts in the cast were Zach Kloppenborg as the brutally violent, Sir Lancelot, who has his own secret (“His Name is Lancelot”) and the mercilessly funny French Taunter.  Brian Preisman’s coconut clapping and laconic Patsy.  Adam Hogston, whose cowardly Sir Robin joins the Knights because he wants to sing and dance and gets his chance in “You Won’t Succeed on Broadway”.  Don Harris as the intelligent Sir Bedevere (channeling a little Bill Murray) and the widowed, lonely mother of Dennis/Sir Galahad.  Ryan Pivonka as the acerbic Dennis who is transformed into the dashing Sir Galahad.  Marcus Benzel who dominates the stage in an awesome cameo performance as the effeminate Prince Herbert.

Jim Boggess and his orchestra strike gold again with a precisely performed and spritely score.  Steven Williams’ lighting and special effects add the right bit of atmosphere.  Steve Wheeldon’s scenery dazzles as we roam from old castles to “very expensive forests”.

A few minor flaws were present in the night’s performance.  There were sound issues on a few occasions and some of the dancers were slightly off at a couple of points.  The duel between King Arthur and the Black Knight also needed some tidying.  But these small quibbles are instantly forgotten in this hilarious and energetic romp.

Deep this show is not.  It’s all about fun and entertaining the audience.  Yet there is one deep thought prevalent in the show and that’s when Arthur refers to the quest for the Grail as a search for the Grail within ourselves or finding the one thing which makes us happy which all of the characters in this show are able to do.  I found that quite profound and a valuable life lesson.  So come see Spamalot for the moral lesson, but stay for the comedy.  Just watch out for that rabbit. . .

Spamalot plays at the Omaha Community Playhouse through June 28.  Showtimes are 7:30pm Wed-Sat and 2pm on Sundays.  Tickets cost $40 for adults and $25 for students.  Contact the box office at 402-553-0800 or visit www.omahaplayhouse.com The Omaha Playhouse is located at 6915 Cass St in Omaha, NE.

Superstar Soars

From the first notes of Jim Boggess and his superlative orchestra, you will be catapulted on an amazing journey for the eyes, ears, and heart as you experience the last week of Jesus’ life told in the style of a rock opera.  This is Andrew Lloyd Webber’s Jesus Christ Superstar currently playing at the Omaha Community Playhouse.

This is, by far, the best musical ever mounted on an Omaha stage and Kimberly Faith Hickman deserves a standing ovation of her own for an extraordinary display of direction and choreography.  Never is there a wasted beat, nuance, or moment and you will be riveted to this incredibly powerful story from beginning to end.  It has been updated so that the tale now takes place in modern times which I believe strengthens its relevance.  Jesus and his followers are now street people living in a derelict shantytown while Pilate and the high priests are well dressed businessmen.  Lydia Dawson’s masterful costuming and Jim Othuse’s deceptively simple set perfectly catch the mood of this update.

This is one of those shows where I truly wish I’d be able to single out every performer individually in a review, but for the sake of brevity, let me say that this cast is phenomenal.  Each and every one is always in the moment and exudes an incredible amount of energy that helps propel the show to unimaginable heights.  Among the talented ensemble were a few standout performances that deserve special notice such as Zach Kloppenborg’s portrayal of the obsequious, irritating suck up Annas.   His whining tenor wonderfully grates on your nerves throughout the night.  Jimmy Nguyen’s Peter was a surprising delight as his strong, supple singing voice completely belies his slight frame.  Jerry Van Horn rules the stage as King Herod as he smarmily tries to get Jesus to prove his divinity in “Herod’s Song”.

Roderick Cotton is a marvel as Jesus’ betrayer, Judas Iscariot.  Oddly enough, he is actually the centerpiece of this story as it is told from his point of view.  Cotton makes for a surprisingly sympathetic Judas as he is Jesus’ right hand man, but fears things are getting out of control now that people believe that Jesus is the son of God (Heaven on Their Minds) while he is convinced Jesus is just a wise teacher.  Cotton’s powerful tenor is capable of capturing a wide range of emotion from sneering superiority as he blasts Mary Magdalene for anointing Jesus with expensive ointment in “Everything’s Alright” to desperation as he feels compelled to betray Jesus for his own good in “Damned for All Time/Blood Money” to anger as he confronts Jesus at “The Last Supper”.

Cotton is also a treat to watch in his silent moments as his expressions are crystal clear and tell a story all of their own.  Not only is it a striking performance, I believe it has the potential to be an award winning one at the end of the season.

John Gajewski handles the role of Jesus with grace and aplomb.  His dynamite tenor reaches searing and soaring falsettos that would make Ted Neeley proud.  Gajewski’s Jesus really emphasizes his human nature and reminds us that Jesus felt the same emotions as every other person.  Rarely have I heard such subtle, outstanding nuance in a voice as Gajewski glides from tender love and hope for his followers to understand the truth of his mission in “Simon Zealotes/Poor Jerusalem”, to supreme confidence in his message in “Hosanna”, to fury at the desecration of his Father’s house in “The Temple”, to frustration with his followers not getting it in “The Last Supper”, and caps it off with a haunting acceptance of his death in “Gethsemane”.

Gajewski’s expressions and body language are just as subtle.  Particularly telling were the weariness in his face when he accepts his destiny in “Gethsemane” and his pained suffering as he is scourged in “Trial by Pilate”.  Both moments had me searching for a tissue.

Many experienced performers would be envious of the stage presence and confidence possessed by young Roni Shelley Perez who plays Mary Magdalene.  Her sweet soprano captures utter devotion to Jesus as she comforts him in “Everything’s Alright”, a perplexed confusion in her dominating solo “I Don’t Know How to Love Him”, and a slow understanding of the truth of Jesus in “Could We Start Again, Please?”  Her performance was one of the night’s many highlights.

Also spectacular were Cork Ramer as the high priest, Caiphas, and Michael Markey as Pontius Pilate.  Ramer’s flawless bass exudes a dark menace as he plots to eliminate Jesus in “Jesus Must Die” and a mocking congratulations and thank you to Judas in “Judas’ Death”.  Markey’s facile baritone paints a picture of a man reluctant to execute the innocent Jesus, but who finally buckles under the extreme pressure in “Trial by Pilate”.

A few minor missteps in diction, projection, and dancing did not distract from this entrancing, beautiful, and moving night of theatre.  As Saturday’s sellout crowd indicates, this show is already morphing into a massive success.  Get a ticket before it’s too late to see this epic hit and potential awards season darling.

Jesus Christ Superstar runs until April 4 at the Omaha Community Playhouse.  Showtimes are 7:30pm Wed-Sat and 2pm on Sundays.  Tickets cost $40 for adults and $25 for students.  Contact the box office at 402-553-0800 or visit www.omahaplayhouse.com The Omaha Playhouse is located at 6915 Cass St in Omaha, NE.