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August 30, 1985 - Image 21

Resource type:
Text
Publication:
The Detroit Jewish News, 1985-08-30

Disclaimer: Computer generated plain text may have errors. Read more about this.

THE DETROIT JEWISH NEWS

THEATER



Ginsberg . Play:
Christological

BY MARLENE GOLDMAN



Wrappedoup in a neat little
Package of exhilarating song and
dance is a controversial message
that places the Off-Broadway
production of Rabboni on a mis-
sionary list. But rather than eon-
fine its bid for a universal ac-
ceptance of Jesus as the Messiah,
aimed primarily at Jews, to dog-
matic preaching, Jeremiah
Ginsberg, author/coillposer and
winner of the Bronze Halo Award
from the Southern California Mo-
tion Picture Council for this play,
weaves his convictions in with a
thoroughly entertaining musical.
Rabboni, which means leader
or master in Hebrew, imparts the
view that Jesus, also called
Yeshua in the play, is "Israel's
Messiah." The plot, simplistic in
form, yet conveying subliminal
complexities as it combines the
Old and New Testaments, is basi-
s cally the conflict between Jews
and Beelzebub; the age-old good
vs. evil. Ginsberg, a Jew who 13
years ago joined the Messianic
Synagogue in Los Angeles which
teaches that Jesus was the Mes-
siah, attempts to spread the belief
that Satan is responsible for those
who reject Jesus.
While the message raises ques-
tions among Jews as to whether
Ginsburg is proselytizing, there is
no question that from a theatrical
point of view, the material is an
up-tempo, captivating success.
Under the direction and choreog-
raphy of Alan Weeks, Rabboni
never grows tired or stale. -
The 15-member cast is led by
Paul Clark and Ned York, Yeshua
and Beelzebub, respectively, who
both immerse themselves into
their well-drawn characters.
Clark, glowing with wholesome
purity, appeals to the audience
with his pleasant voice and sin-
cere acting. On the other side,
York sizzles in his portrayal of the
classic villain and compensates
for his sub-par singing by adding
a comedic lightness to his dark
and evil character.
Although the overall effects of
Rabboni are delightful and enjoy-
able, the musical is burdened by
its share of flaws. Beelzebub's
entourage, while more intriguing
and electrifying than Yeshua's
disciples, are underdeveloped.
Hate and Pride, for example seem
to have no definite character and
no purpose. Their costumes, black
and red with spike belts and
bracelets, resemble outfits worn
to a punk club rather than those of
Biblical demons.
Yeshua's boys vibrate the thea-
ter with their resounding voices
that leave an enchanting residue
in the minds of the audience.
Rabboni, with many strong
supporting performances, includ-
ing Wilbur Archie (Fear), Diana
Myron (Liar) and Scott Elliot
(James), overcomes its handicaps:
Perhaps Ginsberg was inspired
by the old lyric, "A spoonful of
sugar makes the medicine go
down" when he concealable mis-

sionary work in two augar-coated
hours of pleasurable entertain-
ment. But if Ginsberg expects a
MO conversion rate from Rab-
boni, he should have substituted
all that sugar with sutra-sweet.

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