I'm getting a bit of religious whiplash this week. Tuesday evening I attended the last part of a Passover seder notable for its cheerful feel and silly moments ("let me go kasher the scimitar!"), and for the rest of the week I am house manager for Easter Mysteries, billed as "a contemporary oratorio about death and resurrection" being presented by St. Clement's, New York's famous theatre-church, as a benefit for its food pantry. "Contemporary oratorio" means that this is a semi-staged musical passion play accompanied by piano and cello. I don't have a lot of experience with passion plays (other than Sarah Ruehl's take on the subject) and am not emotionally involved in it on a religious basis, but this is quite a good little production of a very powerful story.
The composer/librettist/lyricist is John O'Boyle, whose contemporary take on the story of Jesus's last days in Jerusalem, death, and resurrection is sung and acted by an accomplished twenty-two-member ensemble (led by Kyle Scatliffe (Jesus), Elizabeth DeRosa (Mary Magdalene), and Danny Rothman (Peter). Scatliffe is a gentle, otherworldly presence as Jesus, and DeRosa and Rothman ably portray the conflict between Jesus' male and female followers, Mary's combined faith and frustration, and Peter's self-doubt and insecurity.
The production begins with a triumphant sung entrance into Jerusalem and a seder (the Last Supper), where the disciples are wonderfully humanized as uncertain young activists. It proceeds quickly through the familiar tale of Judas' betrayal at Gethsemane, Peter's denials, Jesus' trial, and the crucifixion. Notable character turns include Paul Louis Lessard's slyly swishy, scene-stealing Herod in the wonderful trio "Wash My Hands" and Jason Veasy as a dignified Roman Centurion, who quietly but powerfully delivers a hideously detailed description of death by crucifixion.
After intermission, as the disciples begin to fall apart, Mary and her companions Joanna and Miriam (Trista Dollison and Mary Jo Mecca) come into their own as the first to visit Jesus' tomb and report the news of the resurrection in two more notable trios, "Nearly Day" and the marvelous "Voices". Michael Deleget (Cleopas) and Hansel Tan (Simon) also get a spectacular duet as they describe their meeting with the risen Jesus in "On the Road to Emmaus", and the entire ensemble powers the joyous "Good News".
Costuming is minimal (concert black), the bare-bones staging consists of two risers, and the oratorio is performed with binders of music and scripts in hand, but the cast succeeds in delivering quite a bit of nuance. DeRosa's Mary is particularly poignant as she is repeatedly dismissed by Peter, whose own imperfection and how it fuels his resentment and jealousy of Mary and her relationship with Jesus are beautifully conveyed by Rothman.
The production is directed by Dan Wackerman with musical direction by Milton Granger and is being presented for only three performances this week (Wednesday being past, that leaves this evening's performance and tomorrow's matinee). I would recommend it to anyone interested in a contemporary take on the Easter story.
Tickets are available through St. Clement's; use discount code EM20 for a special rate.
I hope this becomes an annual tradition at St. Clement's.
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