Hallelujah, It’s Heavenly!!

Keith Patrick McCoy (Front) stars in ‘Cotton Patch Gospel’. Back row (L to R): Isiah Harper, Michelle Justice, Dean Justice, Justin Belew, Jeff Snider

If a man tried to take his time on Earth and prove before he died what one man’s life could be worth, well I wonder what would happen to this world?  Find the answer to this question in Cotton Patch Gospel by Tom Key and Russell Treyz with music and lyrics by Harry Chapin.  It is currently playing at Springer Opera House.

It’s no secret that this is one of my favorite shows.  This is the fourth time I’ve reviewed a version of this musical and I’m always discovering something new based on the storytelling of each cast.  However, I was particularly looking forward to this version as it would be the first time I would see it performed under its original intentions (one actor playing all the roles and backed by a bluegrass band). 

I was not disappointed.

This is a beautiful show for the Easter season and I salute the cast for an energetic and fun-filled night plus give them further kudos for showing great poise as the weather looked like it was turning a little inclement for this outdoor production.

I’ve always appreciated Key & Treyz’s script for its wonderful worshipfulness and clarity.  They do an excellent job of taking the Gospel of Matthew, modernizing it and making it completely understandable to any and all regardless of one’s faith background. In this take, Jesus is born in Atlanta, raised in Valdosta and lynched for the sins of humanity.  Key and Treyz were able to take the most important points of the Gospel and translate it into a 90 minute show that never feels rushed or edited.

Paul Pierce provides very strong direction as he’s guided his lone actor to an impressive performance with a sure and solid hand.  The animation is constant and there’s nary a static moment in the show.  I was also quite pleased with the staging as it had the feeling of an old-time revival show.

Keith Patrick McCoy expertly handles an awesome burden as he plays everybody.  On a scale of 1 to 10, his energy hovered around 15 and he effortlessly transformed himself into several dozen characters with changes in posture and modulation of his angelic baritone.  Some of his great performances included his rendition of the show’s narrator, Matthew, the former IRS man whose respect and love for Jesus is palpable; his sincere and humble Jesus; the conflicted Jud who betrays the Son of God; a smarmy and hypocritical televangelist hyping faith cruises to the Holy Land and Hong Kong; a malevolent Herod bent on killing Jesus to retain his throne; a surprisingly sinister Pontius Pilate who engineers Jesus’ murder.  Last, but certainly not least, I give a personal standing ovation to McCoy’s interpretation of John the Baptizer as he finally gave me the Baptizer I’ve long wanted to see in the form of a blood and guts, fire and brimstone preacher. 

McCoy’s singing is every bit as good as his acting and it always suited the character singing the song. Favorite performances were his Jesus humorously teaching His followers to treat others the way they would want to be treated in “Turn It Around” and agonizing over His impending death in “Goin’ to Atlanta”.  He also has stellar turns as Herod cold-bloodedly admitting “I Did It” when he has an orphanage bombed in an attempt to kill Jesus and as Matthew explaining the takeover plan he and the Apostles cooked up for Jesus in “We Gotta Get Organized”.

The only critique I had was that I thought McCoy could have taken a beat when he transitioned characters and seemed to rush his lines on a few occasions, but I’m going to qualify that by saying he may have been forced to move a little faster due to the weather. 

McCoy was ably supported by a bluegrass band who serves as a second character in the production.  They play all the instruments, sing the bulk of the songs and sometimes stepped in as minor characters.  Justin Belew and Jeff Snider dazzled on guitar and banjo.  Dean Justice was flawless on the stand up bass and his low tenor voice excelled on the somber “Are We Ready?”  Michelle Justice did some fine fiddling and had a lovely solo in “Mama Is Here”.  Isiah Harper was a strong featured vocalist especially in “Something Brewing in Gainesville” and “You Are Still My Boy”.

Debbie Anderson’s musical direction was right on the money as she understood the nuances of Chapin’s score and correctly emphasized its humor and gravitas where needed.  I loved Matthew Swindell’s less is more set of a simple backdrop, table and boxes.  Katie Underwood’s lights were absolutely phenomenal and bolstered key emotional points especially the blue light on Jesus in “Goin’ to Atlanta” and the red and black of Jesus’ lynching.  Sandy Dawson’s costumes were top notch with McCoy’s dapper brown suit and the plaid shirts and overalls of the band.

So if you’re looking for some family entertainment this Easter season, spend some time in the cotton patch with this wonderful cast and story and find out why Cotton Patch Gospel is “The Greatest Story Ever Retold”.

Cotton Patch Gospel plays at Springer Opera House through April 3.  Remaining live performances are April 2 at 8pm and April 3 at 2:30pm.  Livestream performances will be held April 1-3 at 8pm (EST) and a matinee performance at 2:30pm (EST) on April 3.  Tickets range from $20-$38 and can be obtained by calling the Box Office at 706-327-3688 or visiting www.springeroperahouse.org.  Springer Opera House is located at 103 10^th St in Columbus, GA.

Photo provided by Allie Kent

Something Brewing at Springer Opera House

The cast of ‘Cotton Patch Gospel’ Back row (L to R): Justin Belew, Isiah Harper, Dean Justice, Jeff Snider Seated: Michelle Justice Kneeling: Keith Patrick McCoy

Columbus, GA–Dubbed “The Greatest Story Ever Re-Told,” Cotton Patch Gospel is the exuberant musical that tells the story of the life of Jesus, but set in modern-day, rural Georgia.  Jesus is born the son of a carpenter in Gainesville, meets a country preacher named John the Baptizer on the banks of the Chattahoochee and delivers the Sermon on the Mount on Stone Mountain.

The show will run as part of the Springer Opera House’s Outdoor Theatre Festival along with other musicals and children’s theatre shows. Opening March 24 in the newly-built Springer amphitheater, Cotton Patch Gospel arrives just in time for the Easter season.

“In this season of renewal, rebirth, and hope, Cotton Patch Gospel is just what the world needs right now,” explained Springer producing artistic director Paul Pierce.  “With music by the late, great Harry Chapin (Cat’s in the Cradle, Taxi) Cotton Patch Gospel is marked by a feeling of childlike belief, wonder and simple reverence.”

“We all remember the Sunday school lesson where the teacher asked, “What if Jesus were born today? How would you react?”  This show takes that simple question and brings it to life,” Pierce said.

The script was adapted from the Rev. Clarence Jordan’s book “Cotton Patch Version of Matthew and John” by Tom Key and Russell Treyz.  Tom Key was the long-time artistic director of The Theatrical Outfit in Atlanta who recently retired.  Mr. Key collaborated with Grammy Hall of Fame honoree, Harry Chapin – one of the most beloved singer-songwriters in music history – to create the songs for Cotton Patch Gospel. Chapin won Grammy Awards in the 1970s for chart-topping hits like Cat’s in the Cradle, Taxi, Dreams Go By, W.O.L.D. and Sunday Morning Sunshine.

Connection to Habitat for Humanity and the Fuller Center for Housing

“Cotton Patch” author Rev. Clarence Jordan was a farmer who grew up in nearby Talbotton, Georgia, and sought to improve the lives of sharecroppers through scientific farming techniques. He was ordained at the Southern Baptist Theological Seminary and obtained a Ph.D. in Greek New Testament in 1938. In 1942, Jordan and his wife, Florence, founded Koinonia Farm, a 440-acre interracial farming community near Americus, Georgia.  As the Civil Rights Movement progressed, Koinonia Farm became the target of boycotts, violence, and bombings.

In the 1960s, as hostilities subsided in Sumter County, Jordan turned his attention to writing and speaking.  Through his expertise in New Testament Greek, Jordan translated the Synoptic Gospels using homespun language that his Southern audiences could relate to. Thus, Jerusalem became Atlanta, Pontius Pilate became the Governor of Georgia and Bethlehem became Gainesville. 

In 1965, two millionaires, Millard and Linda Fuller, from Lanett, Alabama, became dissatisfied with their wealthy and privileged lifestyle and moved to Koinonia Farm to serve Rev. Jordan’s mission.  The partnership resulted in the founding of Habitat for Humanity in 1976 and later, the Fuller Center for Housing. Fuller is internationally regarded as the founder of the affordable housing movement.

The Springer Production

Cotton Patch Gospel stars Keith Patrick McCoy as the apostle Matthew, who tells the story of Jesus’ life: birth to death to Resurrection.  Harry Chapin’s songs span musical styles from country to blues to folk to Gospel to bluegrass to jazz. The on-stage band is comprised of Michelle Justice, Justin Belew, Isiah Harper, Dean Justice and Jeff Snider. Pierce is the director of the show.

Cotton Patch Gospel runs March 24, 25, April 2 at 8:00 pm and March 27, 28, and April 3 at 2:30 pm. For tickets, call the Springer box office at 706-327-3688 or visit the Springer website at springeroperahouse.org.  Group rates are available for churches, youth groups, and senior groups.

Photo provided by Allie Kent

The Greatest Story Ever Retold Closing Theatrical Outfit’s Season

The beloved musical returns home just when we need its radical hope – now more than ever. Inspired by Clarence Jordan’s provocative The Cotton Patch Version of Matthew and John and produced and cherished worldwide since its conception in 1981, this soul-rouser with boundless heart sets the story of Jesus in the American South. In downtown Atlanta in 2020, Cotton Patch Gospel promises to raise the roof with joy!

Location:  Theatrical Outfit (84 Luckie St NW in the Balzer Theatre at Herren’s in Atlanta, GA  30303)

Dates:  April 22-May 17, 2020

Performance Times:  Wed-Sat at 7:30pm.  Sat-Sun at 2:30pm.

Tickets:  $15-$45.  Tickets may be purchased online at www.theatricaloutfit.org or contact the Box Office at 678-528-1500 between the hours of 10am-6pm Monday-Friday and 90 minutes before showtime.

Cast

Tom Key

Jeff McKerley

Cody Evan Jones

Karen Howell

Chani Maisonet

Candy McLellan

Joel Ishman

JD Myers

World Premiere of ‘Red Summer’ Kicks Off Blue Barn Season

BLUEBARN THEATRE presents:

The World Premiere Production of

RED SUMMER

By Beaufield Berry

September 26^th – October 21, 2019

Thursdays-Saturdays at 7:30pm

Sunday 10/6 & 10/20 at 2:00pm | Sunday 10/13 at 6pm

About the play:  In commemoration of the centenary of the Omaha race riots of 1919, BLUEBARN presents the world premiere of Beaufield Berry’s evocative account of our city’s past centered on the story of William Brown. Accused of a crime he couldn’t physically have committed, the infamous torture and lynching of this 40 yr old factory worker is a stain on America’s heartland. Red Summer presents a compelling portrait of the black migrant experience, grounded by a deeply affecting vision of Will’s life and relationships before he became a tragic headline.

About the production:. Red Summer features Antonio Duke, Xena Broaden, Brendan Brown, Raydell Cordell III, Devel Crisp, Haley Haas, Dara Hogan, Regina Palmer, and Brandi Smith. Directed by Susan Clement-Toberer. Assistant Directed by Barry Carman. Sound and Projection Design by Bill Kirby. Properties by Amy Reiner. Dramaturgy by Denise Chapman. Set Design by Marty Marchitto. Lighting Design by Jamie Roderick. Costume Design by Kendra Newby.

This production is generously sponsored by

Vernie and Carter Jones

Jannette Davis

Tickets:  General Admission ($35) and Senior ($30) tickets are available at bluebarn.org. Educator, Military, and BLUCrew tickets are available through the box office (402) 345-1576.

Blue Barn Theatre is located at 1106 S 10th St in Omaha, NE.

Bluff City Theater’s ‘Cotton Patch Gospel’ Flips the Script

Something’s brewin in Gainesville.  Wonder what it could be?  Something’s brewin in Gainesville.  Come on down and see.  Come on down and see the Gospel of Matthew told Southern style and an extra twist as well.  It’s Cotton Patch Gospel by Tom Key with music and lyrics by Harry Chapin and based off a book by Clarence Jordan.  It is playing at Hannibal City Hall under the auspices of Bluff City Theater.

In the intro I alluded to an extra twist with this particular rendition of Cotton Patch Gospel.  In keeping with its tradition of turning established shows on their heads, this production is comprised almost entirely of female performers and that includes the two primary roles of the Narrator and Jesus.

Some might think that’s shocking, but it really isn’t and this is why.  Tom Key wrote this play in a very unique way.  It can be done as a full cast or a small cast or, in true storytelling format, a one person show.  That last style is exactly how this show is presented.  The Narrator (Taylor Pietz) starts telling the story as an audience member after the first number and then takes over the stage as she becomes most of the main characters as she shares the story of Jesus.

Herbie Barnes does a pretty sophisticated bit of direction with this piece.  I greatly admired his staging of the show as he made stellar use of the fixedness of the council room.  The chorus would pop in and out from behind the bench for certain scenes and numbers and his narrator used every inch of the space to tell this story.  He also thoroughly understood the twists and beats of this tale and led his two primary actors to capable and potent performances as they told that story.

Taylor Pietz plays. . .pretty much everyone who isn’t Jesus.  It is a grueling and grand performance as Ms Pietz effortlessly and easily transforms herself into numerous different characters and she does it with such subtlety.  She pulls her shoulders back and adopts a slight sneer and she’s a rather vile Herod.  Putting on a stole, she’s a high energy John the Baptist.  With a slump of her shoulders and tears in her eyes, she’s a sympathetic Jud who believes betraying Jesus will ultimately save him.  That particular performance is one of her strongest of the night as she plays both the broken Jud and the villainous Dr. Caiaphas (done with veiled, disdainful eyes and miming the smoking of a cigarette) in an intense conversation as the plot to arrest Jesus is created.

Ms Pietz’s voice is quite heavenly.  She’s got a glorious soprano that goes almost operatic on occasion and she has that ability to act through her songs as she never drops character.  Notable numbers were her Herod proudly taking credit for the murder of innocent children in “I Did It”.  A harried Simon “Rock” Johnson trying to organize Jesus’ takeover in “We Gotta Get Organized”.  Two of my favorites of hers were a somber take on “Are We Ready?” that kicks off Act II and a hopeful, joyous rendition of “Jubilation”.

Courtney Friday pulls double duty as Jesus and as Assistant Musical Director for the show.  She has the right qualities for the Son of Man as she projects a real sense of innocence and goodness.  But I also see loads of untapped potential in her lines and I would love to see her play with the words a bit more to maximize the full force of her role.

Her musical chops are quite top of the line.  Not only did she and musical director Colin Healy lead the band to top notch performances of the score, they also rearranged it a bit which I believe added a bit of vitality to the show.  Ms Friday is also a wonderful singer with a wide range as she could sing alto and soprano equally well.  Top songs from her were a sad, haunted take on “Goin’ to Atlanta” as her Jesus fears his imminent lynching and the joyous “Well I Wonder” to close the show.

The two ladies are supported by a chorus of little girls who have voices of angels and flesh out crowd scenes and provide a little choreography to some of the musical numbers.  But I would like to single out Evie Rodenbaugh for a stellar performance.  She has a natural instinct for acting as she was fully invested in the action of the play and added tiny little details that added so much.  Most impressive was a touching moment when she was weeping over the dead daughter of a government official that Jesus raises from the dead.

Chris Davis’ lights are quite amazing, especially considering his having to adapt them to a most unusual performance space.  His idea of using flashlights for the night of Jesus’ arrest is inspired.  The band of Erich Eastman, Jacob Mreen, and Brendan Rodgers provide some great music and a few comedic moments as well.  Eastman, in particular, has a beautiful tenor singing voice well utilized in a few solos.

All in all, I found it to be a very satisfying night of theatre, especially with the superhuman storytelling abilities of Taylor Pietz.  This production truly gives truth to the line “The Greatest Story Ever Retold”.

Cotton Patch Gospel plays at Hannibal City Hall through August 4.  Performances are Wed-Sat at 7:30pm plus a Saturday matinee at 2pm.  Tickets cost $26 for adults and $15 for children.  For tickets, visit www.bluffcitytheater.com or www.eventshannibal.org or call 573-719-3226.  Hannibal City Hall is located at 320 Broadway in Hannibal, MO.

Wonderfully Worshipful ‘Cotton Patch Gospel’ Flies with the Angels

He was laid in an apple crate in Gainesville, GA, baptized in the Chattahoochee River, and lynched for the sins of humanity.  If you think this story sounds awfully familiar, you’d be right.  It is the story of Jesus presented in a countrified fashion in Cotton Patch Gospel by Tom Key and Russell Treyz based on works by Clarence Jordan with music and lyrics by Harry Chapin.  It is currently playing in the LRS Theatre at the Hoogland Center for the Arts.

While lesser known than some of its contemporaries, I’ve long considered Cotton Patch Gospel to be the best of the Gospel musicals.  Tonight’s production only served to strengthen that belief as Ken Bradbury and his cast and musicians came out with all guns a blazing in the best iteration of this show I have seen in a truly magical night of theatre.

Bradbury carries an unusually heavy load in this show as he served as director, musical director, played several instruments, and essayed a couple of roles too.  His direction is exceptionally sharp with strong staging that makes use of the entire performance space, sometimes even the entire theatre.  He has also led his 2 primary actors to unbelievably nuanced and gripping performances.

His musical direction is virtually flawless as he and his band (Carrie Carls, Barry Cloyd, Rob Killam, Mark Mathewson, and Danny McLaughlin) brought Harry Chapin’s score to bright and colorful life.  Bradbury is also an exceptional actor in his own right, projecting subtle menace as Herod as he calmly orders the bombing of an orphanage in an attempt to kill Jesus and milks a pregnant pause to fullest effect as the oily Governor Pilate.

The band not only supplies the music, but they also sing a great deal of the tunes and become characters in the story at various points.  Rob Killam is cool and smooth with the stand up bass while Mark Mathewson brings a lot of fun with the mandolin.  Danny McLaughlin is not only a great guitar player, but is an incredibly energetic performer whether he was hoofing it across the water before nearly drowning as Simon “Rock” Johnson or raining fire and brimstone on sinners as John the Baptizer.  Though his intentions were pretty spot-on, McLaughlin does need to tighten his internal cues a bit.

I thought the work of Carrie Carls and Barry Cloyd was truly something special.  Ms Carls has a very wide singing range, being a natural soprano who can easily go alto on a moment’s notice.  She was quite adept at picking out the emotional beats of a song, particularly shining as a grieving mother who cannot accept the death of her baby in Mama is Here and bringing a soft jubilance in Jubilation.

Cloyd is a master of the banjo and also shows some good comedic chops of his own as he wrestles with a fish when Jesus tells him he’ll catch a big one if he casts with his left hand.  But his lower tenor voice is his greatest asset best utilized in the melancholic Are We Ready? and the wistful You Are Still My Boy.

As essential as the band and music are to the story, this musical also needs top notch actors to drive the narrative and this show has that needed quality in the forms of Nathan Carls and Greg Floyd.  Both men brought a passion, energy, and animation to their roles that kept me hooked from start to finish and made them astoundingly fun to watch.

Nathan Carls is outstanding as Matthew.  As the play’s narrator, Carls carries the bulk of the show’s dialogue, skillfully navigating its numerous beats.  At one moment he does a little soft shoe because he’s excited about going to Atlanta, in the next he’s the rigid taxman meeting Jesus for the first time, the next heartbreakingly devastated as he relates the story of Jesus’ lynching.  And his expressions. . .so clean and clear.  His disgust at singing Spitball and the aching sadness in his face as he slams a chair to the ground to indicate Jesus’ lynching were highlights of the night.  Carls also possesses a fine tenor voice best featured in the hopeful When I Look Up and the spritely We’re Gonna Love it While it Lasts.

Greg Floyd is an absolutely remarkable Jesus.  He brings an innocence and purity crucial for the Son of God to the role and yet he still manages to exude a quiet confidence and authority that shows he is Lord.  Floyd is also able to capture the heavier moments of Jesus’ mission with equal aplomb.  Some of the play’s best moments occur when his beautiful high tenor voice musically asks, “What does Atlanta mean to me?” in Goin to Atlanta and his haunting request to God that he be able to accomplish his Father’s mission without suffering his vicious death during the Agony in the Rock Garden.

This production also rates strong praise for its technical quality.  Steven Varble’s beautifully simple set evokes the sense of a rural setting with its outline of a ranch house, windmill, and crates. Gene Hinckley’s lights greatly added to the emotional tone of the show with their vibrant colors.

I thought a beat here and there could have been struck differently and the pacing needed some fine tuning at a couple of points, but these minor quibbles were easily overlooked in the overall quality of the play.  My biggest disappointment is that a show this good only gets a 2 week run.  With that being said, I would recommend getting a ticket as quick as you can because when the word starts getting out, this show is going to start selling out.

Cotton Patch Gospel runs at the LRS Theatre in the Hoogland Center for the Arts through March 12.  Showtimes are 8pm on Fridays and Saturdays and 2pm on Sundays.  Tickets are $18 for adults and $16 for students and seniors and can be obtained by calling 217-523-2787 or visiting www.hcfta.org.  The Hoogland Center for the Arts is located at 420 S 6^th St in Springfield, IL.

Somethin’s Brewin’ at RCTheatre

Repertory Company Theatre presents:

Cotton Patch Gospel

written by Tom Key & Russell Treyz
with music and lyrics by Harry Chapin

Dates:  Feb 5-14

Showtimes:  Fr/Sat 7:30 & Sun 2:00
Tickets: $25 adults, $15 youth (18 and under)
Group rates available.

Location:  650 N Coit, Richardson, TX

Bring a new or gently used Bible to the show and get your 2nd ticket at half price.
Bibles collected for DALLAS LIFE (the Dallas Life Foundation is designed to meet the needs of homeless men, women, children and families in the Dallas metropolis).

Cotton Patch Gospel is based on Gospels according to Matthew & John in which the life of Jesus is presented in a contemporary, southern setting… Gainesville, Georgia. Fun, high energy, heartwarming. Fresh, new look at this beloved classic.

Director:  Debra Carter

Musical Director:  Joel Bourdier

Cast

Jordan Tomenga

Jack Agnew

Jarvon Hughes
Brandon Edward

Amanda Thompson

Bethany Orick

Country/Bluegrass Band

Joel Bourdier (bass)

Bruce Stevenson (guitar)

Christine Aeschbaucher (violin)
Jason Miller (guitar/mandolin)

 

Somethin’s brewin’ in Gainesville
Wonder what it could be?
Somethin’s bewin’ in Gainesville
Come on down and see…

For Tickets Call 972-690-5029

Cotton Patch is Fun, but Flawed

It’s the Gospel of Matthew told Southern style.  This is Cotton Patch Gospel by Tom Key & Russel Treyz with music by Harry Chapin and inspired by a novel from Clarence Jordan.  This musical will have your feet tapping, your hands clapping, and your fingers snapping throughout the night and is currently playing at the Howmet Playhouse.

This musical has long been a personal favorite of mine, though I imagine many have not heard of it.  It was a big hit when it first came out in 1982 and even netted a Los Angeles Dramalogue nomination for Best Actor for Tom Key (who also co-wrote the script).  From an epic score by Harry Chapin to the vibrant, colorful characters created by Key and Treyz, Cotton Patch Gospel has all of the elements for a hit show.  I had long hoped for the opportunity to see this play and when I discovered it would be produced at the Howmet Playhouse, I drove 16 ½ hours to see it live.

No, that was not a misprint.

I drove 16 ½ hours to watch this show and it was well worth the drive.  Backed by a powerful quartet of musicians, the 5 person cast, under the direction of Debra Freeberg, provided a very entertaining night of theatre.  Ms Freeburg is to be complimented for some very creative and inventive directing, though there were beats that could have been delved into more deeply.  She also coached solid to excellent performances from her cast.  I was also intrigued by the use of a small cast.  Tom Key wrote the play so it could be performed as a one man show or a full scale production, but this is the first time I have seen a small cast used and that decision worked very well indeed.

Steven Barre was one of the two standout performers of the night.  Barre has a good sense of body language and voice as he easily switched between the humble, but harried, Joe (Jesus’ stepfather), the arrogant and dangerous, Governor Herod, and the conflicted Jud, who ultimately betrays Jesus.  Barre is a very animated actor and his energy and enthusiasm added greatly to his work which was a treat for the eyes and ears.  My only criticism is that Barre’s take on John the Baptizer was too restrained and he needs to let loose and go full force with the zealous preacher.

Barre also has a wonderful 2^nd tenor singing voice which was capable of subtle and rich nuances.  From the cold-blooded gloating of Herod’s arranging the murder of innocent children (I Did It) to the sad Joe wondering why Jesus won’t see him (You Are Still My Boy) to a jubilant Apostle (Jubilation), Barre proved himself to be a well rounded performer and a great asset for the show.

Brianna June Clark was the other standout performer of the night.  Ms June Clark had a beautiful, clear soprano singing voice and she knows how to find the emotional beats of a song.  From a soulful, haunting number from a mother who cannot accept the death of her child (Mama is Here) to a wistful dream that Jesus wasn’t dead (One More Tomorrow), Ms June Clark knocked one musical pitch after another out of the park.

She was also just as adept on the acting side of things.  Ms June Clark has an incredible presence and excellent facial expressions along with a good sense of improv.  Whether she was the slightly befuddled Andy, the menacing Governor Pilate, or the Virgin Mary, Ms June Clark was, quite simply, an utter delight.  She also had the funniest moment of the night with her audible nausea at the sight of the victim when Jesus tells the story of the Good Samaritan.

I wish the show had more than a one weekend run as I sensed a great deal of potential in the performances of Alex Cooke and Annie Bulthuis which could be realized with a longer run.  Both gave solid performances, but they needed a bit of fine tuning.

Both (and the rest of the cast at various points) needed to project more and talk louder to overcome the nearly black box nature of the theatre’s acoustics.  They also need to slow down their delivery a bit and focus a bit more on the beats and nuances of their dialogue.  A lot of humorous lines and dramatic moments didn’t get the emphasis they needed due to their rushing the lines.  I understand that the entire rehearsal process only lasted two weeks which isn’t enough time to get into the grit and gristle of a script.  So they deserve kudos for the solid foundation they developed with their limited preparation time.

Ms Bulthuis has a skillful alto voice which she put to good use in numbers such as “Love the Lord Your God” and “We Gotta Get Organized”.  She also has one of the most expressive faces I have ever seen.  With a slight cock of her eyebrow or a tiny purse of her lips, I was able to follow the thoughts of Ms Bulthuis’ characters without her uttering a single word.  I also thought her interpretation of Rock as slightly less than intelligent to be a very fine and funny bit of acting.

Cooke’s 2^nd tenor voice also demonstrated a knack for subtle shades of emotion.  His primary role was that of Jesus and his portrayal of Jesus’ fears and sadness at his imminent lynching in “Goin’ to Atlanta” was not only spot on, but had me shedding a few tears as well.

Though he has no lines, Tim Todd does have a good grasp of pantomime which allowed him to tell his own story and kept him involved in each moment of the show.

There were a few technical flaws during the night.  There was some wicked feedback coming from a speaker at a few points and the actors’ microphones were either failing or their volume was constantly adjusted throughout the show.

Musical Director, Karen Burek, and her Band (Josh Bourdon, Alex Johnson, David Russell, and Lare Williams) do superior work with their stellar musicianship and flawless playing.  Tom Klonowski’s light design was award worthy and Jessica Reilly’s bare bones set was a thing of beauty.

In spite of a few flaws which I believe could be easily overcome with a longer run, Cotton Patch Gospel was an inspiring, moving, and entertaining night of theatre and I want to thank the cast and crew of this show for making my epic journey to see it a worthwhile one.

Cotton Patch Gospel has one final performance on Saturday, August 8 at 7:30pm.  Tickets range from $16 to $20 and can be obtained in person at the Box Office or by calling them at 231-894-2540 one hour before showtime.  They can also be obtained at their website, www.howmetplayhouse.org.  The Howmet Playhouse is located at 304 S Mears Ave in Whitehall, MI.