The Christians-theatre review
December 23, 2016
Tom Irwin photo: Michael Brosilow
Center: Jacqueline Williams p: Michael Brosilow
Theater
December 23, 2006
The Christians
by Betty Mohr
Does everyone go to heaven or do some end up in hell? That is the question at the center of The Christians, now playing at Steppenwolf Theatre.
The Chicago premiere of the one-act play by Lucas Hnath is designed so realistically by Walt Spangler that the Steppenwolf mainstage looks like a church sanctuary. As a prelude to the action, a half-dozen evangelicals sing up an array of spirited gospel songs that has the audience in a good mood even before the show’s start. Indeed, at the play’s opening, the praise-the-Lord music had members of the audience clapping their hands and tapping their toes.
The plot of the play is simple— perhaps too simple. Pastor Paul (Tom Irwin) has decided that he no longer accepts that only true believers of the faith are destined to go to heaven. If all are to be accepted by God into heaven, then it follows that even an Adolf Hitler ends up in heaven.
That goes against Pastor Joshua’s (Glenn Davis) understanding of the bible. And he is not the only one who has a problem with Paul’s new take on faith. One of the congregants, Sister Jenny, (Jacqueline Williams) also has difficulty with Pastor Paul’s turnabout. She confronts Paul and brings up her boyfriend’s concern that he got rid of hell right after the church’s campaign to raise money was completed. Elder Jay (Robert Breuler) also can’t accept the new view, and is worried about how it will affect church donations.
The position the playwright takes on the question is apparent. While Pastor Paul explains that he can’t fathom a loving, forgiving God sending someone to eternal damnation, the opposition isn’t as well developed, nor are the consequences of Pastor Paul’s belief well explored.
December 23, 2006
The Christians
by Betty Mohr
Does everyone go to heaven or do some end up in hell? That is the question at the center of The Christians, now playing at Steppenwolf Theatre.
The Chicago premiere of the one-act play by Lucas Hnath is designed so realistically by Walt Spangler that the Steppenwolf mainstage looks like a church sanctuary. As a prelude to the action, a half-dozen evangelicals sing up an array of spirited gospel songs that has the audience in a good mood even before the show’s start. Indeed, at the play’s opening, the praise-the-Lord music had members of the audience clapping their hands and tapping their toes.
The plot of the play is simple— perhaps too simple. Pastor Paul (Tom Irwin) has decided that he no longer accepts that only true believers of the faith are destined to go to heaven. If all are to be accepted by God into heaven, then it follows that even an Adolf Hitler ends up in heaven.
That goes against Pastor Joshua’s (Glenn Davis) understanding of the bible. And he is not the only one who has a problem with Paul’s new take on faith. One of the congregants, Sister Jenny, (Jacqueline Williams) also has difficulty with Pastor Paul’s turnabout. She confronts Paul and brings up her boyfriend’s concern that he got rid of hell right after the church’s campaign to raise money was completed. Elder Jay (Robert Breuler) also can’t accept the new view, and is worried about how it will affect church donations.
The position the playwright takes on the question is apparent. While Pastor Paul explains that he can’t fathom a loving, forgiving God sending someone to eternal damnation, the opposition isn’t as well developed, nor are the consequences of Pastor Paul’s belief well explored.
Tom Irwin p: Michael Brosilow
If everyone is accepted in heaven, no matter what they have done, then it would follow that God may be loving, but he can’t be just. It’s bad enough that there is an enormous lack of fairness in the world, but to consider that God doesn’t care about righteousness may be upsetting to many. It’s quite awful to think that someone like Hitler, who tortured and murdered more than six million people, is to be considered equal to his opposite, to someone who does good and saves lives.
K. Todd Freeman does a nice job of directing the drama, especially when one realizes that the story seems more like a one-note scene than a play. With the exception of the gospel chorus, which is terrific, the play has a static quality to it. Everyone speaks into a microphone, which makes them sound wooden.
Indeed, even Paul’s wife, Elizabeth (Shannon Cochran), who is supposed to be very upset doesn’t raise her voice. She calmly tells Paul that she wasn’t aware of his change of heart. She’s supposed to be hurt and angry, but because she and Paul talk into microphones, their exchange seems more matter-of-fact than emotional.
As the show winds down, the lighting and sound are turned down, and most of the performers disappear, leaving Paul alone on stage. The playwright has the pastor question the church’s orthodoxy, but Paul’s tepid reaction to opposition makes it hard to gauge his emotions, and that drains the tension and suspense from the work.
At play’s end, there really isn’t much of a resolution, which makes The Christians feel incomplete and unsatisfying.
The Christians
When: Through January 29, 2017; Where: Steppenwolf Theatre, 1650 N. Halsted St., Chicago; Tickets: $20-$89; Information: Call 312.335.1650 or visit www.steppenwolf.org
K. Todd Freeman does a nice job of directing the drama, especially when one realizes that the story seems more like a one-note scene than a play. With the exception of the gospel chorus, which is terrific, the play has a static quality to it. Everyone speaks into a microphone, which makes them sound wooden.
Indeed, even Paul’s wife, Elizabeth (Shannon Cochran), who is supposed to be very upset doesn’t raise her voice. She calmly tells Paul that she wasn’t aware of his change of heart. She’s supposed to be hurt and angry, but because she and Paul talk into microphones, their exchange seems more matter-of-fact than emotional.
As the show winds down, the lighting and sound are turned down, and most of the performers disappear, leaving Paul alone on stage. The playwright has the pastor question the church’s orthodoxy, but Paul’s tepid reaction to opposition makes it hard to gauge his emotions, and that drains the tension and suspense from the work.
At play’s end, there really isn’t much of a resolution, which makes The Christians feel incomplete and unsatisfying.
The Christians
When: Through January 29, 2017; Where: Steppenwolf Theatre, 1650 N. Halsted St., Chicago; Tickets: $20-$89; Information: Call 312.335.1650 or visit www.steppenwolf.org