Sometimes, life’s events seem to merge perfectly with the theme of a particular play. So it is with The Christians, written by award-winning, New York-based playwright Lucas Hnath (pronounced NAYth). A lively and thought-provoking look at Christianity, the play’s focus is also universal in terms of asking us about our personal beliefs, and what those beliefs say about us.
Perfect for the holiday season, The Christians initially brings to mind a child’s innocent belief in Santa Claus. Will Santa arrive this year, at a time when everything about the holiday has been altered by the current pandemic crisis? Adults are wondering, too. Will it still be Christmas without gathering with our relatives? Will it be Christmas without going to church? Will it be Christmas if spent alone, without “exposing” our elderly and immune-deficient friends and relatives to a deadly virus? A shift in perspective is definitely needed to make this season “feel” like Christmas.
As all of us reflect on what the holiday season might look like this year, Pastor Paul is confronting some of his own long-held beliefs. The pastor has seen his congregation grow exponentially over the past 20 years. What began as a handful of people in a storefront is now contained in a sprawling megachurch, complete with a coffee shop and a baptismal font the size of a swimming pool. Thousands of worshippers gather each week to hear Pastor Paul’s inspiring words of comfort and spiritual awakening.
As the play begins, it is a special day in this church. The mortgage has finally been paid off. However, instead of congratulating the congregation on this achievement, Pastor Paul’s sermon takes a decidedly different tack. (It’s important to note that Hnath’s play is based on the mystery of faith, and it does not pit believers against non-believers.) Pastor Paul believes that God has spoken to him and opened his mind regarding new possibilities of what waits in the hereafter.
Paul’s sudden pronouncement disturbs some members of the congregation, as it does the church’s second-in-command, a much younger Associate Pastor Joshua. In fact, Joshua is so taken aback by his mentor’s words that he eventually leaves the megachurch and establishes a small community church nearby. However, the conflict at hand exists far beyond Paul and Joshua. It affects Paul’s standing with the church trustees, and even causes a rift within Paul’s own marriage.
In the past five years, Hnath’s subtle, complex, and nuanced play has been performed across the country. The Christians premiered at the Actors Theater of Louisville in 2014, followed by an Off-Broadway debut at Playwrights Horizon in 2015. Chicago’s Steppenwolf performed the play during the holidays in 2016. Productions also have been staged in London and Los Angeles. One reviewer noted that, “The Christians is both epic and unexpectedly intimate.”
This aspect makes the play a perfect match for Milwaukee’s Next Act Theater, which is dedicated to producing thought-provoking work. Next Act makes excellent use of the virtual medium to bring a cinematic approach to this production. The Christians is set in a beautiful church, with sparkling, stained-glass windows shining in the podium’s background.
Under the masterful direction of Edward Morgan, this fine cast is led by David Cecsarini, the theater company’s producing artistic director, as Pastor Paul; well-known Milwaukee actor Marti Gobel as Elizabeth, the pastor’s wife; and Andrew Muwonge as Paul’s protégé, associate pastor Joshua. Cecsarini, in particular, seems to effortlessly maintain the play’s emotional tension. He commands the audience’s attention throughout.
Some of Cecsarini’s best scenes are opposite Gobel as Elizabeth. Her feelings for him shift almost imperceptibly during their scenes together. Each one speaks to the other in caring, respectful tones. Yet Elizabeth cannot help but feel hurt and betrayed by her husband’s sudden religious conversion.
In one shockingly powerful scene, Pastor Paul is confronted by a congregant. As Jenny, Emily Vitrano gives a memorable – if brief – portrayal of a woman who at first expresses her gratitude towards everything the church has meant to her. Yet she is torn by her pastor’s recent sermon. In a speech both simple and compelling, Jenny claims she is scared and unsure about wh,ether to accept the pastor’s words. “What am I supposed to tell my (young) son?,” she asks, plaintively.
Finally, the church’s board of trustees is represented by Elder Jay (Rick Richter). In a role that doesn’t give Richter a lot of emotional latitude, he navigates skillfully. There’s also a trio of church singers (Lachrisa Grandberry, Raven Dockery and Rana Roman), unseen by the audience, who effectively set the mood throughout.
Online viewers also will be impressed by the work of videographer Timothy Moder, who creates an impressively seamless performance in conjunction with lighting/sound engineer Michael Van Dreser. Costume designer Amy Horst provides a slightly conservative, understated look.
