McNally, Terrence. Corpus Christi. New York: Grove, 1998.

Here, McNally reimagines Jesus Christ as a gay man, and brings the story of his life up to date. Judas is written as his lover, moody, brooding, choosing to betray Jesus just for a spot in history. McNally's point in this exercise is to argue for a theology of inclusion:

Judas: What is His crime?

High Priest: Blasphemy.

Judas: Because He says He's the son of God?

High Priest: No, because He says you're the son of God as well.

Judas: We're all the son of God.

High Priest: Unless you're looking for trouble, I would keep that to myself. The son of God is a cocksucker? I don't think so. We need sinners. (65)

Something about the casting—all the roles except for Jesus and Judas are played varyingly by a "choir" of eleven other men—prevents the play from transcending beyond its central conceit. In other words, there are no real characters here we can attach ourselves to, just re-presentations of mythic figures. Kushner's approach at negotiating gay people within Judeo-Christian belief seems, perhaps only in its epic scope, a greater success.