On April 10, Columbia University presented 21 Pulitzer Prizes for achievements in journalism, literature, and music. Notables from the list of social justice-oriented works that received a Pulitzer Prize include: New York Daily News and ProPublica receiving the Public Service award for reporting on evictions of mostly poor minorities carried out by police abusing the law —
“Make us one,
Make us one body,
Because when we are one body,
We see something we cannot see
By ourselves ...
In the name and in the blood of Jesus,
SO OPENS LUCAS HNATH’S PLAY The Christians, which premiered at the Humana Festival of New American Plays in 2014 and at Playwrights Horizons Off-Broadway in 2015. The play is described as a “kind of sermon,” sometimes literal, sometimes figurative. The Christians marks a distinct turning point in the history of American theater, in that its evangelical main character’s struggle with ideas is treated as a serious subject that reflects on a nation’s moral dilemma.
Religious themes are hardly a new topic for U.S. theater, but most often they’ve been treated negatively. Arthur Miller’s plays, such as The Crucible and After the Fall, treat religion as an institution of animosity, even a kind of antagonist. Tennessee Williams uses religion as a quaint and antiquated emblem of Southern culture—such as in The Glass Menagerie, where the character Amanda says, with exaggerated sympathy, “You’re a Christian martyr.” Then there’s Inherit the Wind, by Jerome Lawrence and Robert E. Lee, a dramatic treatment of the Scopes Monkey Trial that depicts Christians as hostile and uneducated. If the American theater were an accurate mimesis of American truth, Christians would be lying, narcissistic, two-faced, McCarthyist bigots.
The Christians is a completely different story, in which the dramatic action depicts a loving, thoughtful pastor as the protagonist up against the institution of the church. Each character is treated with due reverence and given a fair argument, so that there are no easy answers, and the audience is left grappling with the central struggle. The play is reminiscent of Norwegian playwright Henrik Ibsen’s An Enemy of the People (a quote from this play is The Christians epigraph), where a citizen who tells the truth faces the wrath of a village that turns on him. Both plays explore deep ethical issues as the central characters risk their reputations and their livelihoods through standing by their principles.
The first scene of Hnath’s powerful drama is a contemporary church service, highlighted by PowerPoint slides, with a sermon based on Isaiah 30:12-13: “Because you have rejected this word and relied on oppression and depended on deceit, this sin will become for you like a high wall, cracked and bulging, whose collapse comes suddenly in an instant.”
The sermon is delivered by the energetic and youthful Pastor Paul at an evangelical megachurch that could be anywhere in the United States. He goes on to describe what he views as the crack in his church’s foundation, delivered with the smooth tones of a master orator who has always won the favor of the congregation. He tells a story he heard at a pastor’s conference about a boy, in a country ravaged by violence, who rushes into a burning building to save a little girl and dies from his burns. Pastor Paul is tortured by this story, told to him by a missionary who mourns for the boy saying, “What a shame, I didn’t save this boy for Christ ... what a shame I didn’t save this boy from hell.”
Canfield and Kelly have decided to keep singing each Sunday at Hillsong, despite the restrictions. They recognize that the decision they’ve made is not one that every person in their position should make. But they believe it is the right one for them.
“If every gay person leaves their church because they have been treated poorly, nothing will change,” Canfield said.
“They still want us, and we feel called to stay. And we’re telling all our gay friends at Hillsong to do the same.”
Twenty years ago, a gay Mormon character stepped onstage for the first time. His name was Joe Pitt, and he was in Tony Kushner’s Angels in America, Part One: Millennium Approaches.
Pitt lived in New York with a good reputation and a bad marriage to a woman addicted to Valium. As colleagues dealt with the devastation and uncertainty of AIDS — it was the 1980s — he grappled with openly acknowledging his sexuality. He was Mormon. And gay. And the two didn’t mix.
Before Pitt, there was a gay Mormon character in a novel: Brigham Anderson, in Allan Drury’s Advise and Consent, published in 1959. But words like “gay” and “homosexual” weren’t used; it was all innuendo.
Now, the scene has changed: Gay Mormon characters and themes have a growing role in theater and literature.
NEW YORK — A Tony-nominated play that offered a controversial take on the Virgin Mary reflecting on her life held its final performance on Sunday, closing after only two weeks as poor ticket sales never matched high expectations.
Now the question is: Why?
Shows fold on Broadway all the time, of course, and as The New York Times noted, just 25 percent of them ever show a profit. But was there something about The Testament of Mary that doomed it to failure?
After all, biblically themed shows are all the rage on television and especially on cable; the recent History Channel miniseries The Bible generated huge ratings, and a host of shows and films are trying to explore — and perhaps exploit — similar territory.
Liked the show? You should try reading the book.
That’s the message the Church of Jesus Christ of Latter-Day Saints is sending in three full-page advertisements in the playbill of the stage musical “The Book of Mormon.”
The occasionally blasphemous musical, which won the Tony Award for best musical in 2011, follows two hapless Mormon missionaries who are dropped into a remote village in Uganda to evangelize the locals. The hit show, already sold out for its run at Toronto’s Princess of Wales Theatre from April 30 through June 9, was co-written by “South Park” creators Trey Parker and Matt Stone, along with Robert Lopez, who also helped write the similarly irreverent “Avenue Q.”
If you've ever seen or heard Kristin Chenoweth sing, you know she is a pint-sized ray of sunshine. She oozes joy and grace and love for her audience from every pore of her 4-foot-11-inch frame. Plus, girlfriend has a spot-on, finely calibrated sense of comic timing. (I dare you to watch her perform and not at least crack a smile. She is enchanting, her natural ebullience utterly infectious.)
What you may not know is that Chenoweth, 44, is a Christian. Born and raised in the Southern Baptist tradition where she accepted Jesus into her heart at the tender age of 8, "Cheno," as she is known to her legion devoted fans, now describes herself as a nondenominational "non-judgmental, liberal Christian." Her devotion to Jesus and His Way is something she's never been shy about, both before and after she took Broadway by storm in her early 20s.
“I'm sick of people who've never been to church telling me that church is full of hypocrites, and people who've never read the Bible telling me that it's baloney," she wrote in her 2009 memoir, A Little Bit Wicked. "I'm a very controversial figure in the Christian world. I don't believe if you're gay or you have a drink or you dance, you're going to hell. I don't think that's the kind of God we have. The Pat Robertsons and Jerry Falwells of the world are scary. I want to be a Christian like Christ — loving and accepting of other people."
What's better than a piping hot, non-fat, sugar-free pumpkin latte right about now?
Sipping a piping hot, non-fat, sugar-free pumpkin latte while listening to Kristin Chenoweth sing "Taylor the Latte Boy," that's what.
Go grab your latte. Kristin and Taylor will be waiting for you inside when you get back.
Warning: Sing-along flash mobs may ensue. Use headphones as a precautionary measure.