“The Gospel According to Heather” a new musical which is now playing at Theater 555 fails to deliver any clear message let alone a gospel, constantly being sidetracked by insignificant subplots and ridiculous situations that try to reflect on the present socio-political turmoil. Just when the audience thinks it may get a grip on the proceedings, the musical switches gears and charges on in a different direction for no apparent reason. Paul Gordon credited with creating the book, music and lyrics certainly does not prove to be a triple threat in this case, lacking the proficiency needed in any of the three disciplines. He certainly has had a valued career with a TONY nomination for “Jane Eyre” and critical acclaim for the musicals “Sense and Sensibility” and “Daddy Long Legs” but does not exercise the same mastery here.

The show revolves around Heather (an energetic Brittany Nicole Williams), a nerdy, boyfriend less, high school outcast who does not fit in, struggling to find her place in the scheme of things. She is more studious than social, trying to navigate her journey through adolescence, when she suddenly finds a Roman coin in the fish she is eating (go figure?). This occurrence changes everything and strange phenomena begin to occur, prompting her to try and get rid of the coin, which always seems to turn up repeatedly, revealing a secret each time. These events and secrets lead her to believe that she is some sort of prophet with special powers. During these revelations, which include turning water into wine and bringing back a newly found boyfriend from the dead, we are introduced to angels, disciples, and the high almighty herself. If that were not enough Heather delivers a set of nine new commandments to replace the original ten delivered by Moses. If this sounds contrived and confusing, I have made my point very clear. To be on the safe side add a bit of revenge, an ultra-conservative talk show host, an attempted suicide and a debilitated, wheelchair bound woman in a nursing home.

There is nothing wrong with the cast who work earnestly to overcome the pitfalls of the less than adequate book and give the pedestrian music and lyrics their best shot, delivering fine vocals. Ms. Williams attempts to give her character Heather some viability, but she is pulled in too many different directions, prohibiting her from establishing any roots. Jeremy Kushner does double duty creating the roles of Ray and Booker adding over the top, colorful portrayals, and fine vocals. Badia Farha turns in a solid performance as Mrs. Parker, making the best out of her supporting role. Then there is the wonderful Katey Sagal, a stifled, emotionless invalid, confined to a wheelchair during her diminutive stage time until bursting out into an eleven o’clock musical number. She still has what it takes to command the stage. Director Rachel Klein moves things along but is never able to provide depth to the characters and fails to seamlessly blend the endless scene changes. All in all, this new musical endeavor, angels, and all, is never able to rise above mediocrity.