Quantcast
4S Ranch Allied Gardens Alpine Baja Balboa Park Bankers Hill Barrio Logan Bay Ho Bay Park Black Mountain Ranch Blossom Valley Bonita Bonsall Borrego Springs Boulevard Campo Cardiff-by-the-Sea Carlsbad Carmel Mountain Carmel Valley Chollas View Chula Vista City College City Heights Clairemont College Area Coronado CSU San Marcos Cuyamaca College Del Cerro Del Mar Descanso Downtown San Diego Eastlake East Village El Cajon Emerald Hills Encanto Encinitas Escondido Fallbrook Fletcher Hills Golden Hill Grant Hill Grantville Grossmont College Guatay Harbor Island Hillcrest Imperial Beach Imperial Valley Jacumba Jamacha-Lomita Jamul Julian Kearny Mesa Kensington La Jolla Lakeside La Mesa Lemon Grove Leucadia Liberty Station Lincoln Acres Lincoln Park Linda Vista Little Italy Logan Heights Mesa College Midway District MiraCosta College Miramar Miramar College Mira Mesa Mission Beach Mission Hills Mission Valley Mountain View Mount Hope Mount Laguna National City Nestor Normal Heights North Park Oak Park Ocean Beach Oceanside Old Town Otay Mesa Pacific Beach Pala Palomar College Palomar Mountain Paradise Hills Pauma Valley Pine Valley Point Loma Point Loma Nazarene Potrero Poway Rainbow Ramona Rancho Bernardo Rancho Penasquitos Rancho San Diego Rancho Santa Fe Rolando San Carlos San Marcos San Onofre Santa Ysabel Santee San Ysidro Scripps Ranch SDSU Serra Mesa Shelltown Shelter Island Sherman Heights Skyline Solana Beach Sorrento Valley Southcrest South Park Southwestern College Spring Valley Stockton Talmadge Temecula Tierrasanta Tijuana UCSD University City University Heights USD Valencia Park Valley Center Vista Warner Springs

The Glory Man at Lamb's Players Theatre

In Walden, Henry David Thoreau says doing good can have selfish motives. Goodness, he writes, “must not be a partial and transitory act, but a constant superfluity, which costs him nothing and of which he is unconscious.” Clarence Jordan (1912–1969) took Thoreau’s injunction — be good, and good will follow — to ­heart.

You might recall his nephew — Hamilton Jordan was Jimmy Carter’s chief of staff — but not Clarence. He had a degree in agriculture and a Ph.D. in the Greek New Testament from the Southern Baptist Theological Seminary. Like Martin Luther, he wanted to return Christianity to its basics. For example: “There just isn’t any word in our vocabulary which adequately translates the Greek word for ‘crucifixion.’ Our crosses are so shined, so polished, so respectable that to be impaled on one…would seem a blessed ­experience.”

In the late 1960s, Jordan wrote The Cotton Patch Gospel, a Southern, colloquial translation of the Greek New Testament in which Paul’s letter to the Ephesians becomes “The Letter to Christians in Birmingham,” and he substitutes the word “lynching” for ­crucifixion.

In 1942, he and wife Florence bought 440 acres in Americus, Georgia. They founded Koinonia (“Fellowship”) Farm, a spare, racially integrated Christian collective in the middle of Macon County. When word spread that blacks and whites lived side by side, even ate meals together, locals boycotted the farm. Jordan was also a student of Gandhi, in particular his belief in satyagraha: the “soul force” of passive resistance. On at least 23 occasions the KKK attacked Koinonia — vandalism, gunfire, bombings — and put Jordan’s credo of nonviolence to the ­test.

Instead of reaching for a gun, Jordan wrote: “If it costs us our lives…to redeem our brothers and sisters in the flesh, so let it be…. To move away would be to deny the redemptive process of ­God.”

In 1965, when only a handful of members remained, Millard and Linda Fuller visited the farm. They became so inspired they created “partnership housing” with Jordan: quality homes, with a no-interest mortgage, for low-income families. In 1976 Koinonia Partners became Habitat for Humanity. Jordan never saw the first house constructed. He died of a heart attack in ­1969.

Jordan’s decades-long turn-the-other-cheek battle is a great idea for a play. Dennis Hassell’s Glory Man, world premiering at Lamb’s, sketches in the life but tries to account for every event from 1942 to 1970 and rarely holds still. In the process, Jordan and the plight of Koinonia Farm beam on and off. The script only skims the surface of a deep ­reservoir.

Hassell has an annoying habit of jumping from seriousness to comedy, often in seconds (just about every time the two children enter, for example, they defuse a dramatic moment). In effect, he has laced a soft vein of comedy through real hardship and woe. The same holds for his characterization of Jordan. Possibly backing away from hagiography, Hassell often makes him clownish — too clownish, as if he were just shallow (“Clarence had the passion of a prophet and the sense of a mule”). But the guy was tough as nails. The comic veneer dilutes his courage and drive. Revisions could begin by eliminating the play’s ever-present smile and giving Jordan, and the script, a firmer ­spine.

But while The Glory Man needs work, the Lamb’s production’s a treat. On Mike Buckley’s minimalist set — unpainted wooden stairs and platform, like an unfinished house — director Robert Smyth turns his cast into a chorus. Rural sounds, from cowbells to gunfire, emerge from actors seated in the background. Canes and boot-heels tap rhythms; spirituals sprout (including “Love Lifted Me”). The Glory Man, it turns out, lies somewhere between a “play with music” and a full musical. The songs, well chosen and directed by Deborah Gilmour Smyth (including her lyrical “Follow, Follow”), create ongoing, and affecting, aural ­scenery.

Rick D. Meads heads a strong ensemble as Jordan. He does well what the script gives him, always an engaging presence, but should have more than one or two beats to register painfully conflicting emotions. Antonio “T.J.” Johnson’s Old Rupe narrates the story with humor and wisdom. Mike Sears smartly tones down Carrick, which makes the bigoted thug even viler. As Jordan’s wife Florence and Reverend Modret, Deborah Gilmour Smyth and Robert Smyth play figures torn between life-saving expedience and visionary dreams (“I follow Jesus,” says the Reverend, “up to a point”). Keith Jefferson makes Gus Rawley the story’s doubting Thomas and rocks the rafters when he ­sings.

Jeanne Reith has designed 18th Century and Victorian costume extravaganzas. Here she works with a much narrower palette — humble denims and cotton prints — with just as much ­success. ■

The Glory Man by Dennis Hassell
Lamb’s Players Theatre, 1142 Orange Avenue, Coronado
Directed by Robert Smyth; cast: Antonio “T.J.” Johnson, Bryan Barbarin, Keith Jefferson, Deborah Gilmour Smyth, Rick D. Meads, Adrian Blount, Avery Solsbak, Alexis Rae Tenny, Jesse Abeel, Jason Heil, Caitie Grady, Cynthia Gerber, Doug Waldo, Kerry Meads, Mike Sears, Cashae Monya, Matthew Meads; scenic design, Mike Buckley; costumes, Jeanne Reith; lighting, Nate Parde; sound, Deborah Gilmour Smyth, George Wheeler; choreographer, Colleen Kollar Smith
Playing through November 14; Tuesday through Thursday at 7:30 p.m. Friday and Saturday at 8:00 p.m. Matinee Saturday at 4:00 p.m. and Sunday at 2:00 p.m. 619-437-0600.

Here's something you might be interested in.
Submit a free classified
or view all

Previous article

Forget bike lanes or sidewalks in rural San Diego County

Supervisors steer around anti-car measure
Next Article

Mark Dresser’s musicianship cuts through it all

Long-time UCSD professor’s telematics trials

In Walden, Henry David Thoreau says doing good can have selfish motives. Goodness, he writes, “must not be a partial and transitory act, but a constant superfluity, which costs him nothing and of which he is unconscious.” Clarence Jordan (1912–1969) took Thoreau’s injunction — be good, and good will follow — to ­heart.

You might recall his nephew — Hamilton Jordan was Jimmy Carter’s chief of staff — but not Clarence. He had a degree in agriculture and a Ph.D. in the Greek New Testament from the Southern Baptist Theological Seminary. Like Martin Luther, he wanted to return Christianity to its basics. For example: “There just isn’t any word in our vocabulary which adequately translates the Greek word for ‘crucifixion.’ Our crosses are so shined, so polished, so respectable that to be impaled on one…would seem a blessed ­experience.”

In the late 1960s, Jordan wrote The Cotton Patch Gospel, a Southern, colloquial translation of the Greek New Testament in which Paul’s letter to the Ephesians becomes “The Letter to Christians in Birmingham,” and he substitutes the word “lynching” for ­crucifixion.

In 1942, he and wife Florence bought 440 acres in Americus, Georgia. They founded Koinonia (“Fellowship”) Farm, a spare, racially integrated Christian collective in the middle of Macon County. When word spread that blacks and whites lived side by side, even ate meals together, locals boycotted the farm. Jordan was also a student of Gandhi, in particular his belief in satyagraha: the “soul force” of passive resistance. On at least 23 occasions the KKK attacked Koinonia — vandalism, gunfire, bombings — and put Jordan’s credo of nonviolence to the ­test.

Instead of reaching for a gun, Jordan wrote: “If it costs us our lives…to redeem our brothers and sisters in the flesh, so let it be…. To move away would be to deny the redemptive process of ­God.”

In 1965, when only a handful of members remained, Millard and Linda Fuller visited the farm. They became so inspired they created “partnership housing” with Jordan: quality homes, with a no-interest mortgage, for low-income families. In 1976 Koinonia Partners became Habitat for Humanity. Jordan never saw the first house constructed. He died of a heart attack in ­1969.

Jordan’s decades-long turn-the-other-cheek battle is a great idea for a play. Dennis Hassell’s Glory Man, world premiering at Lamb’s, sketches in the life but tries to account for every event from 1942 to 1970 and rarely holds still. In the process, Jordan and the plight of Koinonia Farm beam on and off. The script only skims the surface of a deep ­reservoir.

Hassell has an annoying habit of jumping from seriousness to comedy, often in seconds (just about every time the two children enter, for example, they defuse a dramatic moment). In effect, he has laced a soft vein of comedy through real hardship and woe. The same holds for his characterization of Jordan. Possibly backing away from hagiography, Hassell often makes him clownish — too clownish, as if he were just shallow (“Clarence had the passion of a prophet and the sense of a mule”). But the guy was tough as nails. The comic veneer dilutes his courage and drive. Revisions could begin by eliminating the play’s ever-present smile and giving Jordan, and the script, a firmer ­spine.

But while The Glory Man needs work, the Lamb’s production’s a treat. On Mike Buckley’s minimalist set — unpainted wooden stairs and platform, like an unfinished house — director Robert Smyth turns his cast into a chorus. Rural sounds, from cowbells to gunfire, emerge from actors seated in the background. Canes and boot-heels tap rhythms; spirituals sprout (including “Love Lifted Me”). The Glory Man, it turns out, lies somewhere between a “play with music” and a full musical. The songs, well chosen and directed by Deborah Gilmour Smyth (including her lyrical “Follow, Follow”), create ongoing, and affecting, aural ­scenery.

Rick D. Meads heads a strong ensemble as Jordan. He does well what the script gives him, always an engaging presence, but should have more than one or two beats to register painfully conflicting emotions. Antonio “T.J.” Johnson’s Old Rupe narrates the story with humor and wisdom. Mike Sears smartly tones down Carrick, which makes the bigoted thug even viler. As Jordan’s wife Florence and Reverend Modret, Deborah Gilmour Smyth and Robert Smyth play figures torn between life-saving expedience and visionary dreams (“I follow Jesus,” says the Reverend, “up to a point”). Keith Jefferson makes Gus Rawley the story’s doubting Thomas and rocks the rafters when he ­sings.

Jeanne Reith has designed 18th Century and Victorian costume extravaganzas. Here she works with a much narrower palette — humble denims and cotton prints — with just as much ­success. ■

The Glory Man by Dennis Hassell
Lamb’s Players Theatre, 1142 Orange Avenue, Coronado
Directed by Robert Smyth; cast: Antonio “T.J.” Johnson, Bryan Barbarin, Keith Jefferson, Deborah Gilmour Smyth, Rick D. Meads, Adrian Blount, Avery Solsbak, Alexis Rae Tenny, Jesse Abeel, Jason Heil, Caitie Grady, Cynthia Gerber, Doug Waldo, Kerry Meads, Mike Sears, Cashae Monya, Matthew Meads; scenic design, Mike Buckley; costumes, Jeanne Reith; lighting, Nate Parde; sound, Deborah Gilmour Smyth, George Wheeler; choreographer, Colleen Kollar Smith
Playing through November 14; Tuesday through Thursday at 7:30 p.m. Friday and Saturday at 8:00 p.m. Matinee Saturday at 4:00 p.m. and Sunday at 2:00 p.m. 619-437-0600.

Sponsored
Here's something you might be interested in.
Submit a free classified
or view all
Previous article

Fabian Nunez fails to work magic for Mercury lobbying firm

Santee's Mayor Minto can't write his column
Next Article

Big Oak Ranch – another roadside attraction

The fines that MTS should pay
Comments
0

Be the first to leave a comment.

Sign in to comment

Sign in

Art Reviews — W.S. Di Piero's eye on exhibits Ask a Hipster — Advice you didn't know you needed Best Buys — San Diego shopping Big Screen — Movie commentary Blurt — Music's inside track Booze News — San Diego spirits City Lights — News and politics Classical Music — Immortal beauty Classifieds — Free and easy Cover Stories — Front-page features Excerpts — Literary and spiritual excerpts Famous Former Neighbors — Next-door celebs Feast! — Food & drink reviews Feature Stories — Local news & stories From the Archives — Spotlight on the past Golden Dreams — Talk of the town Here's the Deal — Chad Deal's watering holes Just Announced — The scoop on shows Letters — Our inbox [email protected] — Local movie buffs share favorites Movie Reviews — Our critics' picks and pans Musician Interviews — Up close with local artists Neighborhood News from Stringers — Hyperlocal news News Ticker — News & politics Obermeyer — San Diego politics illustrated Of Note — Concert picks Out & About — What's Happening Overheard in San Diego — Eavesdropping illustrated Poetry — The old and the new Pour Over — Grab a cup Reader Travel — Travel section built by travelers Reading — The hunt for intellectuals Roam-O-Rama — SoCal's best hiking/biking trails San Diego Beer News — Inside San Diego suds SD on the QT — Almost factual news Set 'em Up Joe — Bartenders' drink recipes Sheep and Goats — Places of worship Special Issues — The best of Sports — Athletics without gush Street Style — San Diego streets have style Suit Up — Fashion tips for dudes Theater Reviews — Local productions Theater antireviews — Narrow your search Tin Fork — Silver spoon alternative Under the Radar — Matt Potter's undercover work Unforgettable — Long-ago San Diego Unreal Estate — San Diego's priciest pads Waterfront — All things ocean Your Week — Daily event picks
4S Ranch Allied Gardens Alpine Baja Balboa Park Bankers Hill Barrio Logan Bay Ho Bay Park Black Mountain Ranch Blossom Valley Bonita Bonsall Borrego Springs Boulevard Campo Cardiff-by-the-Sea Carlsbad Carmel Mountain Carmel Valley Chollas View Chula Vista City College City Heights Clairemont College Area Coronado CSU San Marcos Cuyamaca College Del Cerro Del Mar Descanso Downtown San Diego Eastlake East Village El Cajon Emerald Hills Encanto Encinitas Escondido Fallbrook Fletcher Hills Golden Hill Grant Hill Grantville Grossmont College Guatay Harbor Island Hillcrest Imperial Beach Imperial Valley Jacumba Jamacha-Lomita Jamul Julian Kearny Mesa Kensington La Jolla Lakeside La Mesa Lemon Grove Leucadia Liberty Station Lincoln Acres Lincoln Park Linda Vista Little Italy Logan Heights Mesa College Midway District MiraCosta College Miramar Miramar College Mira Mesa Mission Beach Mission Hills Mission Valley Mountain View Mount Hope Mount Laguna National City Nestor Normal Heights North Park Oak Park Ocean Beach Oceanside Old Town Otay Mesa Pacific Beach Pala Palomar College Palomar Mountain Paradise Hills Pauma Valley Pine Valley Point Loma Point Loma Nazarene Potrero Poway Rainbow Ramona Rancho Bernardo Rancho Penasquitos Rancho San Diego Rancho Santa Fe Rolando San Carlos San Marcos San Onofre Santa Ysabel Santee San Ysidro Scripps Ranch SDSU Serra Mesa Shelltown Shelter Island Sherman Heights Skyline Solana Beach Sorrento Valley Southcrest South Park Southwestern College Spring Valley Stockton Talmadge Temecula Tierrasanta Tijuana UCSD University City University Heights USD Valencia Park Valley Center Vista Warner Springs
Close