Some knowledge of the history behind The Cotton Patch Gospel, Bunbury Theatre's earthy bluegrass gospel musical that switches the life, death, and resurrection of Jesus Christ to rural Georgia, is instructive and deepens enjoyment of that old, old story. Tom Key and Russell Treyz adapted "the greatest story ever retold" from a book called "The Cotton Patch Version of Matthew and John" by Dr. Clarence Jordan, a white civil rights activist, Baptist minister, and native Southerner who reinterpreted the New Testament in bold contemporary language full of humor and stinging commentaries on politics and religion for the racially- mixed community he and his wife founded (the Habitat for Humanity concept of "partnership housing" was born in that Georgia enclave). Legendary troubadour Harry Chapin was recruited to craft words and music for the musical stage version.
Bunbury's high-spirited production, directed by producing/artistic director Juergen K. Tossmann, has a plentiful share of stirring and poignant moments amid the rousing tunes and knee-slapping jokes. There's a feeling of being in a church basement as talented members of the congregation put on a show on a bare bones stage where five actors (four women, one man) and four musicians (all men) sit on wooden folding chairs and stools when not venturing into the aisles to say their lines and sing their songs (the musicians, however, remain in place). Jesus (Robin Hunter), as this version goes, was born in Gainesville, Georgia, during segregated times when racist governors reigned. His pregnant mother Mary and father Joseph were on their way to an IRS audit in Atlanta when birth pangs forced them to stop at a motel that had no vacancies.
A trailer behind the motel, not a manger, became his birthplace. Governor Herod, hearing that the virgin baby is supposed to be a future governor, is determined to kill Jesus but the family flees to Mexico, returning to Georgia to settle in Valdosta only after Herod dies. The familiar tale takes Southern-style twists as Jesus draws followers with his preaching, performs miracles (but declines to change stones into grits), denounces money-grubbing televangelists and media circuses, demolishes a megachurch mall, repels Klansmen, and foretells his death by lynching. After his resurrection, his disciples are delighted to find him chowing down on pecan pie and coffee.
Hunter, who addresses God as "Daddy," and his fellow players work smoothly together as they portray numerous characters. Jackie Carrico shines in Mary's tender version of "You Are Still My Boy" and all join with Hunter to sing the rollicking "Turn It Around (Jubilation)." The Dead Elvis Quartet, a gospel group that flunks the Good Samaritan test on the interstate, is hilarious in its two numbers: "There Ain't No Busy Signals on the Hotline to God" and "Spitball Me, Lord, on the Home Plate of Life." (Those may not be exact titles; the printed program lacks a much needed song list.)
Dianne Stretz-Thurmond stands out in her multiple roles, especially as an over-the-top John the Baptizer and a good ole boy fisherman named Rock who is awed by the size of the fish he catches. Mathilda McCommon is quietly effective as Jud (Judas), the betrayer, and Julie Zielinski's early scenes as Mary nicely set up the show's premise. Three cheers also for the four musicians: Lee Cable, guitar/mandolin; Gabe Hampton, guitar; Kris Merritt, bass, and Neil Brewer, banjo.
