Lamb’s Player’s Cotton Patch Gospel is an homage to the spirit of the late, great Harry Chapin, who penned all 19 songs for this biblical-infused musical.

Uncontrollably, your feet begin to tap and your fingers begin to snap as you listen to the underlying message captured within the adapted writings of Tom Key and Russell Treyz. Their adaptation is based upon Clarence Jordan’s rewriting of the parables of Jesus (The New Testament) for his racially mixed community near Georgia, Alabama.

The Gospel of Matthew is given a contemporary facelift, set to country style music in a place called Gainesville, Georgia. Those inclined to religion might have paid a little more attention to their catechism if it had been a little more contemporary and had a bit of bluegrass in the background, like the teachings in this splendid musical.

Chapin’s musicianship helps the talented cast to shine as bright as the star in the sky announcing the birth of Jesus throughout the production. The ensemble is composed of three actor’s equity performers: Ryan Drummond (Rock), Mark Christopher Lawrence (Matthew) and Rick D. Meads (Johnny). They all display an easy, down-home, irresistible charm and sincerity in their multifaceted roles. It’s a talent binge of humor and good acting.

“The 7th Day Buskers” (busking is a European term for street performing) not only provide the foot-stomping music for Cotton Patch Gospel, but participate in the performance as well. Featuring banjo, fiddle, guitar and bass, their musicianship is top drawer.

The story unfolds with the ensemble telling the story of a couple, Mary Haggler and Joe Davidson, who are about to have a child, albeit, without benefit from sexual intercourse. Joe seeks out a bit of counseling to help him get through this, but eventually stands by his woman.

Then it’s on to see the taxman, where the auditor just can’t understand how Jesus can live without earning a penny — it must be unreported income. After Jesus tells the auditor “I am the light and anyone who follows me will not know darkness,” the auditor turns in his commission and follows Jesus out the door.

The songs speak to contemporary themes and many are a hoot. With hee-haw influenced choreography and lyrics such as, “Ain’t no busy signals on the hotline to God” or, “Spitball me, Lord, over the home plate of life,” you just find yourself naturally embracing the tenants of the New Testament.

There are poignant moments, as well, that balance the more jocular performances. One such moment happens when Meads, playing Jesus, brings a young girl back to life. The audience stops for a moment, catches its breath, and moves back into the hilarity of the show.

Time passes rapidly and soon Jesus is “waiting for a call from the man above.” He is always there to instruct, and, since it is the South, the vernacular and reference points shift a bit, as when he announces that “Man doesn’t live by grits alone.”

There’s the PMS (Praise My Soul) Convention in Atlanta, Herod, the evil Governor of Georgia, and much more to be seen in this fast-moving, lively production.

With great music, lyrics, and acting you can’t go wrong with Cotton Patch Gospel. You don’t even feel that the play is about religion; it’s just about the life of someone called Jesus. And perhaps that was the intent of the original author, Clarence Jordan. Cotton Patch Gospel plays through July 27 at Lamb’s Players Theatre. Call (619) 437-0600 for more information.