“All good stories start with a Jew” quips the character of Baruch de Spinoza in New Jerusalem.  Stage West Theatre bears that particular truth out in its provocative brain tickler of a production of David Ives’ play about the 17^th century Jewish philosopher.

New York City-based playwright Ives (All in the Timing, The Liar, Is He Dead?) is primarily known for his adaptations and one-act comedies. New Jerusalem represents a more sober, Tom Stoppard-esque intellectual exercise presented in the style of a courtroom drama (note the subtitle: The Interrogation of Baruch de Spinoza at Talmud Torah Congregation: Amsterdam, July 27, 1656). He adds some of his distinctive, zinging humor to lighten it up, and it works wonders. It’s philosophy made palatable for the masses (in a good way).

Jerry Russell directs the erudite drama with an ear for the story and elicits more than capable performances from a cast burdened by some heavy scholarly lifting. They make the revelation of dense, philosophical concepts both tense and exciting.

The historically-based play follows the young Spinoza (Garret Storms) during the events leading up to, and including, his excommunication from the Jewish community in Amsterdam. Portuguese Jews were living in Holland to escape the Spanish Inquisition; there were many restrictive conditions placed upon them and their religious practice.  Spinoza’s radical and “heretical” views concerning God, nature, and the universe are ruffling the feathers of the conservative Christian populace, particularly concerned civic leader Abraham Van Valkenburgh (Russell Dean Schultz).

The action takes place in the chambers of Rabbi Saul Levi Mortera’s (Jim Covault) synagogue.  It is a regimented space (design by Covault) made up of heavy wooden tables and chairs with a large cabinet (the repository of the sacred Torah) upstage center that sets a serious tone, and allows for the words to weave their magic without distraction.

Storms, as the man “intoxicated by God (and mathematics),” is a little mush-mouthed at first, but he soon settles in as an energetic and wry verbal prankster with a charming lilt. The dialogue allows Storms to overhear himself, a la Hamlet, as he explains the essence of nearly everything. His struggles to comprehend the Divinity require heroic sacrifices and a surprising ending.

Covault plays the rabbi torn between defending his beloved pupil Spinoza and saving his flock from religious persecution. Covault’s typical measured preciseness works wonders here. The fetching and appropriately restrained Barrett Nash is Clara van den Enden; a young Christian music teacher Spinoza is devoted to, but not enough to convert: “why would I trade the elegant absurdity of being born a Jew for the mere illogic of Christianity?”

Schultz, as the interlocutor Van Valkenburgh, is a stentorian figure worthy of fear, but no mere villain chewing the scenery.  Samuel West Swanson is Simon de Vries, Spinoza’s housemate and friend. He plays an amiable straight man to the philosopher’s fervent wit. Michael Corolla is Gaspar Rodrigues Ben Israel, a “parnas” of the temple who must decide Spinoza’s fate.  He is an admiring uncle figure who turns authoritarian once his faith is tested by the young man’s questioning of Judaism.

Angela Owen has the unenviable role as Spinoza’s shrill half-sister, Rebekah de Spinoza, who whines about her inheritance and betrays her brother to the committee, then changes her mind to defend him just as fast.  Most of this is done from her seat in the audience because we too are part of the play as witnessing congregation. It’s the only part of Ives’ otherwise sparkling play that does not ring true.