“The 12” at Goodspeed has lingered much longer in my memory than most musicals. I find myself pondering its ideas and themes. Dramatic moments drift back into my head. I hum the songs — “Sweet Dream,” most often.

“The 12” — which boasts a book and lyrics by Pulitzer Prize-winning playwright Robert Schenkkan, and music and lyrics by Neil Berg — is a musical drama with a lot to say.

The 12 of the title are Jesus’ disciples. The show zeroes in on a time in their lives that has rarely been dramatized. It’s the two days after Jesus dies. Their leader is gone — a person they believed in and gave up so much for — and they are now all in grave danger. The show imagines their angst, their struggles, their fears, and their eventual uniting to spread Jesus’ teachings.

The trajectory of their emotions is reflected in the song titles; the first number is “Walk Away” and the final few include “Rise Up” and “Our Love.” The tunes, which range from rock-fueled to folk-flecked, are marvelous. If they had been selling CDs of “The 12” after the show, I would have bought one.

While “The 12” is about Jesus’ apostles, the show is structured in a way that would be meaningful to audience members who are Christian, yes, but also to those who are not. Schenkkan and Berg don’t use Jesus’ name, and while many specifics of the story are here, emphasis is put as well on large themes like grief and love.

In the program, Schenkkan and Berg write, in part, “we have tried very seriously to get at this fundamental question of Belief, and a commitment to something which cannot be proved in rational, scientific terms. … How do we get there? And when that dies, when that belief falters or is betrayed, how do we go on? We have all experienced a dark night of the soul. That terrible moment where our foundational belief, whether it is a religion, a marriage, a political party, etc. fails us. In that moment, how do we find a way to go forward?”

A modern take

Schenkkan and Berg set “The 12” in what could be the current world, making us reflect on the disciples’ experiences not just as something that happened in the past. It becomes a tale of love and loyalty and danger that bristles with a modern relevance.

The characters are called by could-be-21st-century nicknames; Mary Magdalene, for instance, is Mags. They are dressed in present-day clothes — worn-down, earth-toned items. They speak as if they are conversing now. The songs have a current edge to them, as does the industrial set. It’s a warehouse of corrugated tin walls and painted-over or broken windows. Iron beams in the shape of a cross look as if they have tipped and gone awry. Faded graffiti states, “Crucify your mind.” John Doyle, the Tony winner who directs “The 12,” also serves as the scenic designer.

Doyle’s direction, meanwhile, sparks the show with a bristling energy, as the production propels itself through its 85-minute, intermission-free runtime.

Tumultuous start

I wasn’t sure if I’d like “The 12” as I was watching the tumultuous opening. The first part of the show feels chaotic — intentionally so, I’m guessing, reflecting the mayhem the disciples are experiencing — but it keeps viewers at arm’s length for too long. The emotional intensity hovers at a 10, as individuals spout a line here and a line there; we don’t know who is who, and it’s hard even to tell who onstage is speaking. I kept thinking, “When are they going to slow down and let me know each character individually?”

They finally do, and that’s when “The 12” reaches its full power.

This is also when each actor gets time to make an impression, and they do. Almost each of them gets his or her own song and own moment in the spotlight.

Rema Webb, as Mother Mary, is an absolute showstopper when she sings the gospel-sparked “Rain.”

Wesley Taylor gets to add sardonic humor to the proceedings as Doubting Thomas.

Mel Johnson Jr., as Tee is a haunted and haunting soul. His recitation of the fates that await each disciple is a devastating moment.

Bart and Phil’s guitar-strumming performance of the folk-pop number “Sweet Dream” is just lovely, as they consider whether they would have followed Jesus if they had known the outcome. Rob Morrison is Bart, and Brandon J. Elis plays Phil; their smooth harmonies are the sonic equivalent of honey.

Adrienne Walker brings both a strength and warmth to Mags. Her voice is wonderfully versatile; she can nuance a song, or she can belt.

The cast, as a group, has the most muscular voices of a Goodspeed cast that I can remember recently. Sometimes, they almost overwhelm the intimate venue.

The Goodspeed production follows a 2015 version of “The 12” in Denver. The show has undergone some rewriting since Colorado and brought in Doyle as director.

And next? I could see “The 12” heading to New York City in the not-too-distance future.

If you go

What: “The 12”

Where: The Goodspeed, 6 Main St., East Haddam

When: Through Oct. 29; 2 and 7:30 p.m. Wed., 7:30 p.m. Thurs., 8 p.m. Fri., 3 and 8 p.m. Sat., and 2 p.m. Sun.; also select Thursdays at 2 p.m. and select Sundays at 5:30 p.m.

Tickets: Start at $30

Contact: goodspeed.org, (860) 872-8668