With 80 singers, ‘God Lives in Glass’ takes Las Vegas to church

Las Vegas Review-Journal

1 year ago

Keith Thompson, “Jersey Boys” conductor and co-composer of “Idaho! The Comedy Musical” ... — Keith Thompson, “Jersey Boys” conductor and co-composer of “Idaho! The Comedy Musical” is reflected in the lid of a piano at the Smith Center for the Performing Arts at 361 Symphony Park Ave. in Las Vegas on Friday, May 6, 2016. (Review-Journal file photo)

Keith Thompson, left, and Philip Fortenberry are shown in this undated photo. Thomson created and Fortenberry performs in “God Lives In Glass.” (Shelley Mansholt)

“Jersey Boys” conductor Keith Thompson “didn’t want to be stuck in Las Vegas” before he moved here from New York, but he’s discovered more chances for creativity. (Bill Hughes/Las Vegas Review-Journal)

Philip Fortenberry and Keith Thompson are shown at the opening of “The Cocktail Cabaret” at Caesars Palace on Dec. 17, 2017. (Ira Kuzma)

As we say, “Preach it, Keith.”

Keith Thompson is bringing “God Lives In Glass … Through The Eyes of a Child” back to the stage 3 p.m. Sunday at Reynolds Hall. We have just one quibble with this show. It performs too infrequently. This is the first time “GLIG” has been performed at the Smith Center’s big room in eight years.

This is a cast of 80 singers, 20 musicians and 18 dancers, all of them taking you to church. Go to TheSmithCenter.com for tickets and intel.

Thompson wrote the piece in the aftermath of 9/11, inspired by Robert J. Landy’s book “God Lives in Glass: Reflections of God Through the Eyes of a Child,” which features drawings and stories of children from all over the world.

Musically, Thompson has drawn from styles ranging from pop to gospel, classical to blues, and reggae to R&B.

“I have never written anything like this,” Thompson says, a huge statement if you know his remarkable body of work. The Vegas composer hopes to take the core performers of the show and tour it around the country, with cities using local talent to fill the giant cast.

Thompson is excited at the addition of international concert flutist and Celina Charlier for the Reynolds Hall show. This is the Brazilian artist’s first performance in the production.

Thompson emphasizes the score is all-encompassing, evoking humor and warmth without putting any religion above another. See it, because you don’t know when you’ll be able to see it again.

John Katsilometes’ column runs daily in the A section. His “PodKats!” podcast can be found at reviewjournal.com/podcasts. Contact him at jkatsilometes@reviewjournal.com. Follow @johnnykats on Twitter, @JohnnyKats1 on Instagram.