Jesus Christ, Superstar

Denver Center's new production focuses on foibles

Before any actor appears, before any dialogue is spoken, before any music rings from the rafters, an imposing plastic Jesus silently watches as the audience shuffles into the Ricketson Theatre.

One of the most striking elements of "Jesus Hates Me" lies not in its graphic language or themes, but in its vivid and evocative set.

Flanked by a faux trailer on one side and a flimsy wooden bar on the other, the gaudy mannequin savior sprawled on a crucifix at center stage sets an irreverent and iconoclastic tone for the drama that follows.

As Denver Center Theatre Company's first production of the new year, "Jesus" plumbs uncomfortable thematic depths aimed at a younger audience. Set in modern South Texas, the drama focuses on the taut relationship between Annie, a clinging mother played by Kathleen McCall and Ethan, her dissatisfied son played by Justin Adams.

Ethan's four local friends round out the cast and add depth to the drama and consequence to the conflict. Lizzy, a precocious and sassy bartender played by Chelsey Rives, is torn by her dissatisfaction and hidden affections even as she is bound by her loyalty to her comically unfortunate brother, Georgie, played by Michael Keyloun.

Craig Patterson plays Boone, a boorish clod responsible for much of the tragic comedy of the piece while Marlon Morrison fills the role of Trane, a young cop trying to boost his reputation as a law enforcer even as he must deal with the racism and ingratitude of the local community.

All of these characters interact against a backdrop that acts as a persona of its own. The sere South Texas landscape is almost palpable throughout the play. Every turn of phrase in the dialogue speaks of the most desolate outposts of the heartland, while the very nature of the conflicts reveals a cultural intimacy. Playwright David McClendon's dialogue captures all the humor, cynicism and resignation of small southern-town community, and Robert Mark Morgan's found-object set creates a vivid forum for the content.

Ethan and Annie's trailer faces the 17th hole of the Blood of the Lamb Miniature Golf Course, where the plastic Jesus acts as the frontispiece for the final hole of the course.

The religious icon's presence holds a steady sway on the characters and their imperfections. "Jesus" features a roster of characters marked by imperfection, struggling with their own sins and forever seeking redemption in their own separate ways.

Amid all these human foibles and failings, the stalwart figure overlooking the 17th hole remains: pristine, unsullied and unattainable in his mythical perfection.

Director David McClendon and the six-member cast combine the sardonic humor of Lemon's text with an immediate and tactile sensibility. Though labored at points, the drama finds its mark more often than not in creating. At its most dramatic and somber moments, the actors manage to maintain an underlying sense of good intentions. In his portrayal of Ethan, Adams impressively leaps from brooding to beaming, from pained reflection to light-hearted banter. Similarly, McCall brings a degree of manic fidelity to her performance as Annie that only adds weight to the character's inner conflict. Even Pattison, who arguably fills the most comedic role, adds to the overarching immediacy of the ensemble.

With "Jesus Hates Me," Denver Center artistic director Kent Thompson continues his bold new vision for the company. The irreverent attitude and immediate appeal of this piece will surely attract a new, younger caste of theater lovers hooked by the humor and impressed by its thematic depths.

"Jesus Hates Me" runs through March 11. For tickets, call 303/893-4100 or www.denvercenter.org.