When Corpus Christi first opened in Manhattan in 1998, thousands of people bombarded the theatre in protest over its modern-day retelling of Jesus and his disciples. Terrence McNally's play sets the story in rural Texas, focusing on the lives of Joshua and his twelve friends - all gay, all somewhat radical.
Flash-forward to contemporary Dalston and the piece isn't quite as controversial, however it still manages to be a provocative story of love, detailing the immense power that possessing a little bit of faith can have.
Each cast member is introduced as a disciple via a baptism from John, and following this adoration; the group then individually introduce themselves to the audience. It gives them a moment to reveal who they are as actors, and explain why they engage with their characters.
What then occurs is a well-intertwined narrative about a person finding their sense of self, mixed in with a series of different performative vignettes. Varied personalities are shown throughout, and the company are very comfortable in their delivery. There is a real sense of ensemble present.
Minimal staging work to this pieces advantage, but despite being rather bare, there are a few brilliant touches added to the design that don't go unnoticed. A neon crucifix is a focal point demanding your attention, and then there are the multi-coloured tints on the back brick wall, giving the illusion of stain glass windows.
Director Nick Connaughton's production enquires what it's like to be queer today, and in doing so provides an opportunity for performers from a wide range of backgrounds and experiences to come together and express themselves artistically.
And that's what the Arcola Queer Collective is all about: bringing together professionals, seasoned pros and newcomers to this crazy world. The eclectic mixed bag brings in a unique flavour that isn't really apparent in the majority of other productions. It's rather exciting to watch.
Corpus Christi at the Arcola Theatre until 10 March
Photo credit: Ali Wright Photography
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