Once you get passed the vulgar label of "The Gay Jesus Play," Terrence
McNally's Corpus Christi is a philosophically faithful
portrayal of Jesus as an American, specifically grounded in the
free love of the late 1960s. The music of The Beatles was an obvious
choice to help tell the story of a man who tries to help the world
let go of their hate.
This concept evolved into a more general pop
music evolution as the times change within the world of the play.
As the teenage innocence of Joshua's (McNally's name for the Jesus
character) life evolves from the late 60s through the seventies and
early 80s, the music evolves from The Beatles to The Bee Gees and
The Bangles.
The physical locations of the play, ranging from a seedy motel, a
prom dance, a disco, The Upper Room, the garden of Gethsemane, and
Golgotha. The flash and glammor of the key locations of the earthly
world contrast sharply with the moments of serenity that Joshua finds
with his apostles.
Something that struck me, as a lighting designer, about Corpus
Christi is that McNally doesn't tell Jesus' story as one of
resurection and triumph, but as one of loss and sacrifice. Joshua's
sacrifice is in spending his life trying to show a better way of
living, and any redemption the audience finds after his death is
from trying to better live the lessons he has taught us. Since
McNally's focus is on the blood and brutality, the devil's
(James Dean) temptation of Joshua and the cucifiction were heavy in
reds. I used deeper blues and lower levels to contrast this for
Joshua's moments of peace with his apostles, and for the more
earthly moments stuck to a light yellow.
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