Just a Seck

          Jesus’ parable of the Prodigal Son in Luke 15 can be presented in many dramatic ways.  One person can read it dramatically from a translation of scripture like the NIV.  Better yet, memorize it and tell it like a story, just as Jesus did, acting out each of the characters yourself.  You can also turn it into various forms of Readers Theater scripts from simple to complex.  (See my blogs on scripting Readers Theater)

          When we performed The Prodigal Son as part of our Parable Project, we scripted it as modified RT and staged it as chamber theater (without scripts) using music, dance and singing.

          Let me share our script with you (complete with song) here.  At the end, I’ll tell you how one spectator responded to it.  Note that we used a cast of 7 or 8 actors who played multiple parts, something you can do with RT.

 

THE LOST SON

Luke 15:11-32

 

CAST:

            1 — Sinner — Reveler 1 — Servant 1

            2 — Tax Collector — Younger Son

            3 — Jesus

            4 — Teacher of the Law — Reveler 2 — Servant 2

            5 — Pharisee — Older Son — Citizen

            6 — Narrator — Father

            7 — Singer (could be the Father)

8 — Guitar, Flute, etc.

 

Nar:                 Now the tax collectors and “sinners” were all gathering around to hear Jesus.  But the Pharisees and the teachers of the law muttered,

 

Phar:   “This man welcomes sinners!

 

Teacher:         (disgustedly) welcomes sinners and eats with them.”

 

Phar:   with….(disdainfully)  them!

 

Nar:                 Then Jesus told them this parable:

 

Jesus: “There was a man who had two sons.  The younger one said to his father,

 

Young:            ‘Father, give me my share of the estate.’

 

Father:            (repeating as a question) “My share of the estate?”

 

Young:            Yes,   give me my share of the estate.

Father:            So he divided his property between them.

 

Jesus: “Not long after that, the younger son

 

Young:            got together all he had, (tunic, sandals, money bag) set off for a distant country

 

Jesus: and there squandered his wealth in wild living. 

 

Young:            (Singing, holding mug up)  squandered his wealth…

 

Reveler 2:       (Singing and joining mugs)  Squandered his wealth…

 

Reveler 1:       (Singing and joining mugs)  Squandered his wealth…

 

Reveler 1, 2 and Young:       (Singing, drunk) In wild living.  Yes, squandered his wealth in wild living.  (Laugh boisterously)

 

Reveler 1, 2:  (Pointing to the Young Son and “tattling on him.”) He squandered his wealth in wild living.

 

Young:            (Toasting) To wealth and wild living.

 

Reveler 1:       You’re so cool.

 

Older Son:      (from other side of stage)  squandered his wealth in wild living.  The fool!

 

Jesus: After he had spent everything

 

Reveler 1:       Spent everything?

 

Reveler 2:       Everything?

 

Young:            Yup, spent everything.

 

Reveler 1:       So long, Fool. 

 

Reveler 2:      We gotta dash. We gotta dash.

 

Reveler 1:      But, we’ll be back in a flash,

 

Reveler 2:      When you got more cash.

 

Reveler 1:      When you got more cash.

 

Reveler 2       When you got more cash.

 

Reveler 1:      Gotta dash.  Gotta dash.

Reveler 2:      But, we’ll be back in a flash

 

Reveler 1:      For the great, big bash

 

Reveler 2:      When you find a stash.

 

Reveler 1:      To buy more hash.

 

Reveler 2:      When you get more cash.

 

Reveler 1:      Fool.

 

Jesus: After he has spent everything…there was

 

Jesus and Young:      a severe famine in that whole country,

 

Jesus: and he began to be in need.

 

Young:            (groan) My empty stomach.  I’m so cold…and hungry.

 

Jesus: So he went and hired himself out to a citizen of that country,

 

Young:            Please, sir, I’ll do anything.  I’ll even… 

 

Citizen:           who sent him to his fields to feed pigs. 

 

Young:            I’ll even feed pigs.  (Begins slopping pigs) feed pigs.  Feed pigs.  Pigs.  Pigs.  I’ll even feed pigs.

 

Jesus: He longed to fill his stomach

 

Young:            with the pods that the pigs were eating,

 

Jesus: but no one gave him anything.

 

Citizen:           no one.

 

Young:            (begging)  anything?  (Pleading) Anything.  Please!

 

Jesus: “When he came to his senses, he said,

 

Young:            ‘How many of my father’s hired men have food to spare, and here I am starving to death!  I will set out and go back to my father and say to him:  Father, I have sinned against heaven and against you.  I am no longer worthy to be called your son; make me like one of your hired men.’ 

 

Jesus: So he got up and went to his father.

 

Young:            (Walking and tearfully reciting what he will say to his father.)  Father, I have sinned against heaven and against you.  I am no longer worthy…

 

Jesus: “But while he was still a long way off, his father

 

Jesus, Father: Saw him and was

 

Father:            filled with compassion for him;

 

Jesus: he ran to his son, threw his arms around him and kissed him.

“The son said to him,

 

Young:            ‘Father, I have sinned against heaven and against you.  I am no longer worthy to be called your son.’

 

Jesus: “But the father said to his servants,

 

Father:            ‘Quick!  Bring the best robe and put it on him.  Put a ring on his finger and sandals on his feet.  Bring the fattened calf and kill it.  Let’s have a feast and celebrate.  For this son of mine was dead and is alive again; he was lost and is found.’ 

 

Jesus: So they began to celebrate.

 

Father:            Celebrate!

 

Servants:        Celebrate!

 

Younger:         (Pause before entering into celebration.)  Celebrate.

 

Singer:    (Music and Song Lost Son.)

 

Chorus (sung by cast):

Put a ring on his finger

And some sandals on his feet,

The best robe on his shoulders,

Kill the fattened calf to eat!

We must dance and be merry

To a celebration sound,

For this dead, lost son of mine

Now lives again…and is found!

 

(Sung by Father)  My son left home a while ago

To seek the world out on his own,

To spend his whole inheritance

Where the wildest seeds are sown.

 

And it pains your heart to know your son

Is squand’ring all he’ll ever own

To buy cheap friends in a famine land

Who will leave him all alone.

 

Chorus (sung by cast):

Put a ring on his finger

And some sandals on his feet,

The best robe on his shoulders,

Kill the fattened calf to eat!

We must dance and be merry

To a celebration sound,

For this dead, lost son of mine

Now lives again…and is found!

 

(Sung by Father) My son came home a while ago

From seeking life out on his own.

He cried, “Abba, forgive me please,

Your slave now…not your son.”

 

And it pains your heart to know your child

Has squandered all he’ll ever own;

But your great love can heal both hearts

For he’s found his way back home.

 

Chorus:

Put a ring on his finger

And some sandals on his feet,

The best robe on his shoulders,

Kill the fattened calf to eat!

We must dance and be merry

To a celebration sound,

For this dead, lost son of mine

Now lives again…and is found!

 

Jesus: “Meanwhile, the older son was in the field.  When he came near the house,

 

Older:  he heard music and dancing. 

 

Jesus: So he called one of the servants and asked him

 

Older:  what was going on. 

 

Servant 2:       ‘Your brother has come,’

 

Jesus: he replied,

 

Servant 2:       ‘and your father has killed the fattened calf because he has him back safe and sound.’

Singer and cast:

Put a ring on his finger

And some sandals on his feet,

The best robe on his shoulders,

Kill the fattened calf to eat!

We must dance and be merry

With rejoicing all around,

For this dead, lost son of mine

Now lives again…and is found!

 

Jesus: “The older brother

 

Older:  became angry and refused to go in. 

 

Jesus: So his father went out and pleaded with him.

 

Father:            Please, Son, come in and celebrate with us.

 

Jesus: But he answered his father,

 

Older:  ‘Look!  All these years I’ve been slaving for you and never disobeyed your orders.  Yet you never gave me even a young goat so I could celebrate with my friends.  But when this son of yours who has squandered your property with prostitutes comes home, you kill the fattened calf for him!’

 

Father:            “‘My son,’

 

Jesus: the father said,

 

Father:            ‘you are always with me, and everything I have is yours.  But we had to celebrate and be glad, because this brother of yours was dead and is alive again; he was lost and is found.’”

 

(Sung by Father)

My other son chose not to go

And seek the world out on his own;

But stayed instead and “slaved away”

Right in his father’s home. 

 

And it pains your heart to know your child

Is sqaund’ring all he’ll ever own

Until he humbly learns the truth:

“We are saved by grace alone.”

 

(Chorus: sung by Cast)

Put a ring on his finger

And some sandals on his feet,

The best robe on his shoulders,

Kill the fattened calf to eat!

We must dance and be merry

To a celebration sound,

For your brother, dead and lost,

Now lives again…and is found!

 

(The older brother looks at his father, spits at the ground and leaves angrily.  What will the Father do?  He commits to celebration.  He sings.)

 

(Father leads cast in singing)

We must dance and be merry

To a celebration sound,

For this dead, lost son of mine

Now lives again…and is found!

 

(Sung by Father)

And it pains the Father’s heart to know

You’re sqaund’ring all you’ll ever own

Until you humbly learn the truth:

“You are saved by grace alone.”

 

(After applause, audience joins in on:)

 

Put a ring on his finger

And some sandals on his feet,

The best robe on his shoulders,

Kill the fattened calf to eat!

We must dance and be merry

To a celebration sound,

For this dead, lost son of mine

Now lives again…and is found!

 

(Emphatically and with finality)

We must dance and be merry

To a celebration sound,

For this dead, lost son of mine

Now lives again…and is found!

 

Jesus: “He who has an ear to hear, let him hear.”

 

A few days after one spectator saw us present the Parable Project, he came to talk to me.  He said, “I always wondered about that story of those two sons.  It always seemed to me that the Father treated the older son  unfairly.  I mean, he was obedient and stayed home, and the other son went away and squandered everything.  I never knew why the Father did what he did until I saw you guys perform it.  It’s all because of grace isn’t it?”  What a great opportunity to share the good news!  I hope you get to use The Lost Son.

 

Have questions, e-mail me at justaseck@fellowshipchapel.net

 

Yours for His Kingdom,

Justaseck

            The Wise and Foolish Virgins is another of Jesus’ stories that we scripted for The Parable Project.  In scripting it, we took the view presented in Proverbs that the foolish virgins were called foolish because of a life-style of foolishness, not just one episode of it.  We decided to present them as irresponsible and dependent upon others to rescue them from their foolish behavior.  This is like so many people today who will depend on their pastor or priest or parent to rescue them when they face the Lord.  But by then it will be too late to learn responsibility for one’s own soul and eternity.  Hence, Jesus’ warning in the parable: Always be prepared yourself!

            As you read this parable, think how you might stage it.  Also, can you see any way to add music or a song to it?

            In my next blog, I’ll show you how we added an original song to our version of The Prodigal Son.

 

 

                                             THE WISE AND FOOLISH VIRGINS

                                                                Matthew 25:1-13

 

CAST:

            Jesus

            Wise 1

            Wise 2

            Foolish 1

            Foolish 2

            Crier/Bridegroom

(This interpretation of the parable presents the Foolish Virgins as often being foolish and irresponsible about things, and depending on the Wise to bail them out.  When it comes to Jesus’ return, the Wise cannot and will not bail them out, if the Foolish are not prepared themselves.  Lesson: take responsibility yourself for being prepared for the Lord’s coming.)

 

Jesus:             “At that time the kingdom of heaven will be like ten virgins

 

Foolish 1:       Ten virgins.

 

Wise 2:           (annoyed with foolish virgin)  who took their lamps.

 

Wise 1:           (The foolish virgins are not paying attention, so Wise 1 repeats it slowly.   Loudly) TOOK THEIR LAMPS.

 

Foolish 1:       (remembering what she had forgotten) ahh!   their lamps!

 

Wise 2:           and went out to meet the bridegroom! 

 

Foolish 1:       and went out …?  (Not knowing where she is going.)

 

Wise 1:           (repeating slowly)  to meet the bridegroom.

Foolish 2:       to meet the bridegroom.

 

Foolish 1:       (excited) the bridegroom!!!

 

Foolish 2:       (excited now also) the bridegroom!!!

 

Jesus:             Five of them were foolish and five were wise.  The foolish ones

 

Foolish 1:       (proudly remembering) took their lamps

 

Wise 2:           (looking over at foolish soberly)  but did not take any oil with them. 

 

Foolish 2:       (as though it was ‘foolish’ to take additional oil.  With swagger.)  Ssshh!  Didn’t take any oil with ‘em.

 

Jesus:             The wise, however,

 

Wise 1:           took oil in jars.  (Showing their jars of oil.)

 

Foolish 2:       (looking over at wise, deprecating them for being over-prepared) took oil in jars

 

Foolish 1:       (holding up her lamp again)  along with their lamps.  

 

Jesus:             The bridegroom

 

Wise 2:           was a long time in coming,

 

Wise 1:           (agreeing)  a looonng time in coming. 

 

Foolish 2:       (copying and exaggerating)  a loooonnnnngggg time in coming.

 

Foolish 1:       (copying but not knowing where to stop) a loooooooooooonnnnnnngggg (Wise 1 hits him to stop her. )  time in coming.

 

Jesus:             and they all became

 

Wise 2:           (yawning)  drowsy

 

Wise 1:           (drowsily)  drooowwwsyyyyy.  

 

Foolish 2:       (more drowsily)  drooooowwwwssyyyyyyyyyyyyyy.

 

Foolish 1:       (mimmicing)   drrrrooooooooooowwwwwwwssssssyyyy

 

Wise 2:           (cutting Foolish 1 off firmly)  and fell asleep.  (Foolish 1 snores immediately. All are asleep.)

 

Jesus:             “At midnight the cry rang out:

 

Crier:  ‘Here’s the bridegroom! Come out to meet him!’

 

Jesus:             “Then all the virgins

 

(The virgins are all disoriented from their deep sleep)

 

Wise 1,2, Foolish 1,2):         (Saying the same words, but not in unison as they mime trimming their lamps.)  woke up and trimmed their lamps. 

 

Wise 1:           (while trimming her lamp.)  “Here’s the bridegroom!”

 

Wise 2:           (confidently trimming her lamp, adding oil.)  “Come out and meet him.”

 

Foolish 2:       (trying to trim her lamp, nervously) Come out to meet him.

 

Foolish 1:       (nursing the flame in her lamp, also nervous.)  The bridegroom!

 

Jesus:             The foolish ones said to the wise,

 

Foolish 2:       ‘Give us some of your oil; our lamps are going out.’ 

 

Foolish 1:       (watching her lamp go out.) ‘Give us some of your oil….our lamps….are going….(flame flicker out) out.

 

Wise 1:           “‘No,’

 

[Jesus:            they replied, ]

 

Foolish 2:       No?  (As though this is a complete surprise.  The foolish are used to the wise rescuing them.)

 

Wise 1:           (firmly) No.

 

Foolish 1:       (incredulous, as though, how can you deny us.)  No?

 

Wise 2:           (explaining)  ‘there may not be enough

 

Wise 1:           for both us and you. (The foolish virgins are downcast.)

 

Wise 2:           Instead, go to those who sell oil

 

Wise 1:           (cutting in) and buy some for yourselves.’ 

Foolish 2:       (Still incredulous that the Wise are not giving them some of their oil and that they have to go and buy.)  Go?

 

Foolish 1:       (trying to guilt manipulate the wise.)  … and buy some for yourselves?

 

(The Wise remain firm and the Foolish have to go.)

 

Jesus:             “But while they were

 

Foolish 1:       (angrily) on their way

 

Foolish 2:       (irritated at inconvenience) to buy the oil,

 

Bridegroom:  the bridegroom arrived.

 

Wise 1:           (seeing him and bowing, holding up her lamp to light his way)  The bridegroom!

 

Wise 2:           (the same) The Bridegroom.

 

Jesus:             The virgins who were ready

 

Wise 1:           (Standing up after the Bridegroom passes.  Happily) went in with him

 

Wise 2:           (Standing up and entering.  happily) to the wedding banquet.

 

Bridegroom:  (commanding)  And the door was shut. 

 

Jesus:             (Firmly)    And the door was shut.  (Pause for passage of time.)  “Later the others also came.

 

Foolish 2:       ‘Sir!

 

Foolish 1:       Sir!’

 

Foolish 2:       (louder, knocking) Sir!

 

Foolish 1:       (still louder, simply) Sir!

 

[Jesus:            they said. ]

 

Foolish 2:       ‘Open the door for us!’  

 

(The door remains shut.)

 

Foolish 1:       Open the door.  (As though on familiar terms with groom)   For us!

Jesus:             “But he replied,

 

Bridegroom:  ‘I tell you the truth, I don’t know you.’ 

 

Foolish 1 & 2:            (looking at each other)  I don’t know you.’

 

Foolish 1:       (repeating as a question.)  I don’t know you?

 

Foolish 2:       (repeating as thought trying to understand.)  I don’t … know … you.

 

Jesus:             “Therefore keep watch, because you do not know the day or the hour.

 

Foolish 1:       (forlornly, walking away from the closed door, pushing Foolish 2 with irritation, as though it was her fault.) You do not know the day.

 

Foolish 2:       (forlornly, pushing the other with irritation, as though it was Foolish 1’s fault)  or the hour.

 

 

            If you have questions about this piece or any of my blog entries, feel free to write me at Justaseck@fellowshipchapel.net

 

Yours for His Kingdom,

Justaseck

            By now you may be wondering if we do more than Readers Theater and parables.  Here’s a series of sketches our drama group created and presented last Sunday as part of a Sunday School and Small Groups promotion at Fellowship Chapel.  The Theme was “Get Connected.”  The leaders of our Sunday School and Small Groups ministries wanted to emphasize the importance of our vertical relationship with God (enhanced through studying God’s Word in Sunday School) and our horizontal relationships with each other (enhanced through involvement in a good Small Group.)  The Drama Team (a small group at Fellowship) was asked to present some good reasons why it’s important to get connected and stay connected.  We came up with eight good reasons (there are more).  We presented them in six short sketches that we ran in quick succession.

 

                                                Get Connected!

 

Lego Connection (to chorus tune of Matt Redmond’s “Never Let Go”)

 

(Six singers are dressed in “lego” costumes.  They dance as they sing.)

 

Oh no, we never lego

Through the calm and through the storm,

Oh no, we never lego

In every high and every low

Oh no, we never lego

Lord, we never lego of Thee.

 

Oh no, we never lego,

You of me and me of you

Oh no, we never lego,

We’re connected to the end

that’s how legos are meant to grow.

 

 

Umbilical Connection (background music: The Blue Danube)

Space Station:          I am the International Space Station.  It is Sunday, September 7, 2008.  Four of our astronauts are going to take a space walk today.  Here they are now: Bynae, Andy, Michelle and Gary.  Hey Guys, don’t forget connect up.

 

Bynae:            Thanks Space Station. 

 

Andy:  Who’d be stupid enough not to connect up.

 

Michelle:        
Gary, you’re not tethered.

 

Gary:   It’s too confining.  Don’t worry.  I don’t need to be.  I’m just gonna take a short walk.  You guys can grab me.

 

Andy:  Hey, everyone.  Look at the meteor shower at 12 o’clock high.  (Everyone looks straight ahead down the center aisle.  Pam, Ron and Byna are 3 abreast.  Gary stand’s behind to keep from drifting.  They all oooh and ahhhh!)

 

Michelle:         Look!  A comet!

 

Bynae: Where?

 

Michelle:         3 o’clock.

 

(Everyone turns right to look, leaving Gary exposed.  He begins drifting down the aisle.

Gary soon drifts off into space and the others cannot snag him because of their tethers.)

 

Space Station:          If you don’t get connected, you’re just gonna keep drifting too.

 

Electrical Connection: (Background sounds from operating room with radio playing.)

 

Body is on the table, covered by a sheet.  Four doctors and nurses stand around the body.  (Same four from space station costumes.)

 

Nurse 1:          Doctor, his heart has stopped beating!

 

Doctor:           Quick, the defibulator paddles.  (Nurse 2 hands him the paddles.  Doctor puts them on the patient’s chest and yells.)

 

Doctor:           Charge!   Clear!  (Nothing happens.)  No charge!  Try again!  Charge!  Clear!  (Nothing happens) No power!  What’s wrong with our defib?

 

Nurse 1:          Look!  It’s not plugged in!

 

Doctor:           So plug it in!  The patient’s dying.

 

Nurse 1:          I can’t. 

 

Doctor:           Why not?

 

Nurse 1:          The cord won’t reach and I can’t find the extension cord!

 

Nurse 2:          That’s because we have our radio connected to it.

 

Nurse 1:          You’re right!  I forgot.  Here let me get it and connect it.

 

Nurse 2:          But one extension cord isn’t long enough.  We need two.

 

Nurse 3:          We’ve got the other one connected to our cell phone chargers.

Doctor:           Can someone get me connected to the power before it’s too … late.   It’s too late.  He’s flat lined.

 

Nurse 3:          (Pause) Okay, Can someone connect the radio again?

 

Patient:           (Sits up!)  Get connected and feel the power.

 

Doctor:           (Holding extension cords) Get connected.  Each one of you is needed to get the job done.

 

Nurse 3:          Get connected so you can hear what’s goin’ on.

 

 

Missing Connection

 

Ron is sitting on a chair with BTA.  He is wearing a black wig to look from the back like Steve Schwan.  He is snoring away.  Meanwhile, a cardboard TV is showing “Heidi.”

 

Enter Steve Schwan with his cell-phone.

 

Steve:             That’s Steve Schwan.  Steve doesn’t have Herizon so he doesn’t have enough bars on his phone.  He’s not connected.  If he was, he would have gotten the call from Pastor Ron.   The Detroit Lions Steve has sworn not to watch this season, are blowing out the Minnesota Vikings today.  If he’d been connected he’d be watching his life’s fantasy come true right now, instead of snoozing in front of Heidi.  Poor Steve, it may take another fifty years to get this chance.  (Angrily)   Ooooooooohhhhh!

 

Voice Over:    Get connected because you never know what you’re missing.

 

Terminal Connection

 

Two Tables with large grey box serving as X-Ray Machine.  Two plastic bins are on table stage left.  Behind the two tables are TSA officials.  Middle age Son and his sixty-ish Mother are in front of tables.  Mother has an oxygen bottle and breathing tube connected to her nose.

 

Son:    Okay ma, you have to put your shoes and purse in the bin, just like I’m doing.

 

TSA 1:            Maam, you’ll also have to put your oxygen bottle into the tray.

 

Mother:           What?

 

TSA 1:            Your oxygen bottle.  In the tray,.

 

Son:    You mean disconnect her oxygen bottle?

 

TSA 1:            Yes, sir.

 

Son:    Then she can’t breathe.

 

TSA 1:            Sorry, Sir.  We’ll make it as fast for her as possible.

 

Son:    Okay.   Mom, you’re gonna have to disconnect your oxygen bottle and put it in the tray.

 

Mother:           Then I can’t breathe.

 

Son:    They’ll put you through the metal detector as quickly as possible and then you can get reconnected.

 

Mother:           Are you sure?

 

TSA 1:            Yes, Maam.

 

Mother:           Well … okay.  (She start to disconnect her nose piece.)

 

Son:    Now, take a deep breath, Mom.  And go.

 

(Her bin with oxygen bottle is passed through the x-ray machine.  She is waved through by TSA 3 official.  Her son is also waved through.  Mother’s bin is now in front of TSA 2 official and he is examining it.)

 

Son:    Can my mother have her oxygen bottle back now?

 

TSA 2:            As soon as we test it.

 

Son:    Test it!  For what?

 

TSA 2:            We have to make sure that it’s really oxygen in this bottle.

 

Mother:           What’s going on, Son?

Son:    How long will that take?

 

TSA 2:            Only a couple of minutes.

 

Son:    Can she reconnect to it in the meantime?

 

TSA 2:            No.

 

Son:    Why not?

 

TSA 2:            Because we’re not sure it’s oxygen.

 

Mother:           Son, I think I’m gonna … (She passes out.)

 

TSA 3:            Quick, get this woman some oxygen.

 

TSA 2:            Where?

 

TSA 3:            I don’t know.  Better sound the alarm.

 

Son:    Get connected, Get life.  Stay connected.  Stay Alive.

 

 

Sound Connection

 

Announcer:     And now ladies and gentlemen, let’s give it up for your favorite and mine, Texas Rex T. Buford. 

 

(Rex enters wearing an ear mike and a cowboy hat and playing a guitar.  He begins to mouth as though he was singing, but he cannot be heard.  Enter technician, turns him around and plugs in his chord to the battery pack.  Immediately he can be heard.)

 

Rex sings:

Rex:    “If you’re not connected you cannot be heard … oh, yes…if you’re not connected you’ll never be heard.”  Thank you, thank you, kindly.  Now don’t forget: You gotta get connected.

 

 

 

 

 

 

 

 

            In my last entry I presented an RT script for Jesus’ Parable of The Narrow Door. 

 

 

 

 

            Last blog, I showed how we took Jesus’ Parables of the Narrow Gate (Matthew) and Narrow Door (Luke) and combined them as an RT script for The Parable Project.

 

            As I thought about the dramas we would want to do in
Bosnia this summer, I felt that the Parable of the Narrow Door would be instructive.  People who take the broad way (even religious people claiming to be Christians) will end up in hell.  Only those who get rid of their baggage (their sin) while entering the narrow gate enter The Kingdom of God and eternal life.

            So how would you present The Narrow Door in another country where the folks don’t speak English?  Obviously, as an RT script, it would work best if it was staged as chamber drama, without scripts and using on-stage focus.  But in another country, either you translate the script and everyone in the cast learns a new language or you switch to pantomime.  We chose the easier solution, using the music to “The Wizard of Oz!”  It worked out so well, I’ll definitely use it in the U.S. as well.

            Here’s show we staged it:

 

Cast:

Four Travelers – all carrying baggage with the names of different sins on them.  They can represent different types of people: old, young, rich, religious.

Four demons – dressed in black (with red horns hidden until the final moment).  They wear black baseball caps.

Angel – dressed in white robe.

 

Four travelers are gathered DSR, with their baggage, trying to figure out which direction to travel.  Suddenly a demon stands up DSR with an arrow-shaped sign saying “To Paradise” (on both sides) pointing USRC.  The travelers see the sign and where it is pointing.  Suddenly the background music starts up:  “We’re Off to See the Wizard, the Wonderful Wizard of Oz.”  They begin to dance and high-step merrily USRC to where the sign is pointing.  Their suitcases bounce up and down with them.

            When they arrive USRC, again they are confused about which way to go.  The music stops.  They stop dancing and begin looking around to figure out which direction to go.  They point in different directions.  A demon stands up USRC with another “To Paradise” sign pointing DSC.  The travelers again see the sign and the direction and get ready to travel that way.   “We’re Off to See the Wizard” starts up again and they dance merrily DSC.

            Again they cannot figure out which direction to go next.  They stop.  The music stops.  They look around.  A demon stands up DSC with the next “To Paradise” sign pointing USLC.  The travelers see the new sign and get excited again.  “Off to See the Wizard” starts again and the travelers dance happily USLC.

            When they get USLC they stop, the music stops and they look around again.  A demon stands up with the third “To Paradise” sign pointing DSL.  The travelers look down in that direction and see a wide gate with the sign “Paradise” over it.  The music begins and the travelers begin dancing toward the wide gate DSL. 

            But while they were looking around, Traveler 1 has discovered a little gate that also says “Paradise.”  (We use a chair with legs that will allow a person to barely crawl under it. The sign is fixed to the back of the chair.)  Traveler 1 begins to examine the small, narrow opening and how he might get through it.  The other Travelers see him looking at the small gate and stop and come back.  (The music stops) 

            They point Traveler 1 to the wide gate.  He points them to the narrow one.  They shake their heads.  It’s too small.  Traveler 1 kneels down and tries to squeeze through the gate holding his suitcases and wearing his backpack.  He can’t get through and stands back up.  Other Travelers laugh and point again toward the wide gate.  Instead, Traveler 1 looks at one of his suitcases (Lust) and decides to leave it behind to get through the gate.  Traveler 2 grabs it up.  Traveler 1 kneels again, tries to get through, but he still does not fit holding the other suitcase (Drunkenness).

            Again the other Travelers laugh and point Traveler 1 toward the wide gate.  But he is determined to get through the narrow gate.  He looks at his second suitcase and gives it up also.  Traveler 3 grabs it from him gladly.  Traveler 1 gets on his stomach and tries to fit through the narrow gate, but his backpack (Pride) won’t go through.  Again he gets up, and again the other Travelers laugh and point him to their gate.  Instead, he takes off his backpack, despite protests from the others, and drops it.  Traveler 3 immediately snatches it up, showing it to the other travelers.

            Traveler 1 gets down on his stomach and begins to crawl through the narrow gate.  The other Travelers give up on him, compare their new baggage and look toward the wide gate.  The music starts up and they’re off. 

            As they arrive at the wide gate (a long, narrow, cloth banner held up by two disguised demons) they read the words “Welcome to Paradise” on it.  They shake each others hands, hug, pick up their bags and high-step across the line and into “Paradise.”  Immediately, the disguised demons turn the sign around.   Now it says “Welcome to Hell.”  They take off their hats revealing their red horns.  The music now changes to discordant, frightening music (like The Psycho Suite) while the four demons converge on the Travelers, throw their baggage out of the gate and carry them off to hell as they scream silently.

            Traveler 1 finally emerges from the narrow gate.  A man dressed in a white robe and smiling warmly comes up to him with a white robe and a crown and welcomes him.  He puts the robe on Traveler 1 and places the crown on his head.  Then he gives Traveler 1 a hug.  He links arms with him.  The music “We’re off to see the Wizard” starts up again. At the words “because of the wonderful things he does,” they skip merrily off stage.

            The Speaker shares Jesus’ parable of the Narrow Door from Matthew with the audience.  “Are you on the popular, wide road through the wide gate that leads to destruction?  Or have you turned down the narrow road to the narrow gate and entered The Kingdom of God?” 

           

 

 

           

 

                                                          THE NARROW DOOR

                                                    Matt 7:13-14; Luke 13:22-30

CAST:

Narrator (Can become Person 1 and Traveler 4)

Jesus

Person 1  (Can be Narrator and Traveler 4)

Owner

Traveler 1

Traveler 2

Traveler 3

Traveler 4

(For a six-actor cast, Narrator, Person 1 and Traveler 4 can all be played by the same actor.)

 

Narr:    Then Jesus went through the towns and villages, teaching as he made his way to Jerusalem. 

 

Jesus:             “Enter through the narrow gate. 

 

(While this teaching is going on, travelers 1,2,3 come on stage (USL).  They are all carry lots of baggage.  Each piece of baggage has a sign on it with the name of a sin: Lust, Bitterness, Pride, Drunkenness, Pornography, etc.  Traveler 1 is alone.  Travelers 2 & 3 are together.  (One of them may be dressed as a priest or religious-looking person.  Travel 1 approaches the “narrow gate” to the right of Jesus and examines it.) 

 

Trav 1:            Okay!  This must be the gate on the map. (Reading sign over gate) “Whosoever will, may enter”.  That’s it.  (Examining it more closely.)  Man alive!  Now I see why it’s called the “Narrow” Gate.  This is gonna be a squeeze.

 

Jesus:             For wide is the gate and broad is the road that leads to destruction, and many enter through it. 

Trav 2:        This must be the way to Paradise. 

 

Trav 3:        It’s broad…well worn…pleasing to the eye.

 

Trav 2:        lots of traffic.

 

Trav 3:        And see the gate?

 

Trav 2:        Where?

 

Trav 3:        Look down the road.  There.  In the distance.

 

Trav 2:        I see it!  It must be huge!

 

Trav 3:        we won’t have any trouble fitting through that gate with our bags!

 

Trav 2         Not like the Narrow Gate.

 

Trav 3:        Who’d ever go through there?  Not when you have a choice like this.

 

Trav 2:        You’re right!  In fact, I think I’ll even pick up a few more things along the way.  (pointing up to sign)   Look.  “Everyone welcome.”

 

Trav 3:        What’re we waiting for? 

 

Trav 2:        Let’s do it.

 

Trav 3:        Wait a sec.  Look.  (Pointing to the Narrow Gate.)

 

Jesus:             But small is the gate and narrow the road that leads to life, and only a few find it.”

 

(Traveler 1 attempts to make it through the gate but cannot because it is low and narrow and his baggage prohibits him.  Travelers 2 and 3 watch him from the road to the “Broad Gate.”)

 

Trav 2:        (Trying to get his attention.)  Hey, buddy…buddy…you!   You’re never gonna fit through there. 

Trav 3:        Not if you wanna take your baggage with you!

 

Trav 3:        Why don’cha go this way with us?  The gate’s much wider.

 

Trav 1:         But this way leads to life.

 

Trav 2:        Yeah, but only if you leave all your dignity behind and crawl through on your hands and knees.

 

Trav 3:        This way’s much easier.

 

Trav 2:        User friendly.

 

Trav 3:        Broad

 

Trav 2:        Well-traveled

 

Trav 3:        Pleasurable

 

Trav 2:        And you can hold on to all your stuff.

 

Trav 1:         But’chur gonna end up in Destruction City.

 

Trav 2:        Who says?

 

Trav 1:         Read the map.

 

Trav 3:        We don’t trust maps.

 

Trav 2:        We read the signs.  “Everyone welcome.”

 

Trav 3:        Come’on, let’s go.

 

Trav 2:        (Sarcastically)  Destruction City, here we come.

 

Trav 3:        Wait a sec.  Look at him!

 

(Traveler 1, thinks a moment and decides to give up one of his suitcases called “lust” to try to get through the gate.)

 

Trav 3:        Oh, no!  You’re not gonna give up your lust just to get through there are you?

 

Trav 1:         Looks like I’ll have to.

 

Trav 2:        You don’t have to.

 

Trav 3:        Well, if you’re not keeping it.  I’ll take it.  I still like a good time and my gate is broad.  Unlike yours!

 

(Traveler 1 still can’t get through.  He throws aside his “bitterness” suitcase.)

 

Trav 2:        Oh, no.  You’re not leaving your bitterness too!!

 

Trav1:          Have to.

 

Trav 2:        No you don’t.

 

Trav 1:         I’d rather have life.

 

Trav 2:        Then I’m taking your bitterness.  (He takes the suitcase.)

 

(Traveler 1 still can’t get through the narrow gate.  He takes off his backpack named “Pride.”)

 

Trav 1:         Then you can have my pride also.

 

Trav 3:        I’ll take it!  (Grabs it from 2)   Pride is mine!

 

Trav 2:        (To traveler 1)  You’re crazy.  You’re nothing without pride.

 

Trav 1:         That’s the point.  I think.

 

(Without the baggage, Traveler 1 begins to wiggle his way through the narrow gate as Travelers 2 & 3 watch.)

 

Trav 2:        Don’t do it.

 

Trav 3:        Come with us.  We’ll give you your bags back.

 

Trav 2:        You’ll regret it.

 

(Traveler 1 disappears into the gate.)

 

Trav 3:        (To Traveler 2)  What a narrow-minded guy.

 

Trav 2:        Sad.  Hey!  I guess that makes us ‘broad-minded,” doesn’t it?

 

Trav 3:        Broad-minded is good.

 

Trav 2:        The Broad way, only for the broad-minded.

 

(Traveler 2 and 3 walk down to the gate marked “Paradise City.”)

Trav 2:        Paradise City!  We made it.

 

Trav 3:        The guy back there was wrong.  We can take it with us.

 

Trav 2:        Welcome to Paradise.

 

Trav 3:        After you.

 

Trav 2:        Why, thank you.

 

(They both enter Paradise City.  

 

Trav 2:        What a beautiful gate. 

 

(They turn around to admire the gate and suddenly read the sign on the back of the gate.)

 

Trav 2 and 3:         (Reading) “Welcome.  You have just entered Destruction City.” 

 

Trav 2:        Oh, no!!! 

 

Trav 3:        We’re toast!!!  (Exit in terror.)

 

(Traveler 1 gets through the Narrow Gate.  He is met by an angel who give him a white robe.)

 

Trav 1:           (Smiling)  Life.  (He exits.)

 

[Narr:   Someone asked him (Jesus),]

 

Person:           “Lord, are only a few people going to be saved?”

 

[Narr:   He said to them,]

 

Jesus:             “Make every effort to enter through the narrow door, because many, I tell you, will try to enter and will not be able to. 

 

(While Jesus is speaking this, Traveler 4 comes to the Narrow Gate with his baggage and is not able to go through. 

 

Trav 4:        This must be the gate Jesus talked about.  Look how small it is!  I’ll never get through that with all my junk.  There must be another way.  Something easier.   I can always come back if I need to.

 

(He looks over at the Broad Gate and thinks to go through there.  He ponders for a little while and then comes back to Narrow Gate to look at it again.  But by this time, the owner has come and closed the door.)

 

Trav 4:        I think it’s time to give this another try. (Finds the door closed) Hm!  The door was opened before.  So why’s it closed now?  (Starts knocking.  Then knocks some more.  He knocks between each phrase.)  Hello…Someone…open up.  I wanna enter.  (Knocks some more.  Each time with growing anxiety.)  I think I’m finally ready to enter.  I wasn’t before…but I am now…You know, I had to have time “to check things out,” “do my own thing,” “do it my way.”  Now I’m done.   I’m older…wiser…more sincere…more religious…more afraid!  God!  Open us, please.  Someone.

 

Jesus:             Once the owner of the house gets up and closes the door, you will stand outside knocking and pleading,

 

Trav 4:            “Sir, open the door for us.’

 

Jesus:             “But he will answer,

 

Owner:            ‘I don’t know you or where you come from’

 

Jesus:             “Then you will say,

 

Trav 4:            ‘We ate and drank with you, and you taught in our streets.’

 

Jesus:             “But he will reply,

 

Owner:            “I don’t know you or where you come from.  Away from me, all you evildoers!”

 

(Traveler 4 leaves reluctantly and enters the Broad Road and Gate with the look of sadness and terror.)

 

Jesus:             “There will be weeping there, and gnashing of teeth, when you see

 

Trav 4:            (Looking over toward heaven [DSR]) Abraham, Isaac and Jacob

 

Trav 1:            (reentering DSR) and all the prophets

 

Trav 4:            in the kingdom of God!

 

Jesus:             but you yourselves thrown out. 

 

Trav 4:            (In agony)  Thrown out! 

 

Jesus:             People will come from east and west

 

Trav 4:            (Still looking, longingly) and north and south,

 

Trav 1:            and will take their places at the feast in the kingdom of God. 

 

Jesus:             (Looking at Traveler 1)  Indeed there are those who are last who will be first,

 

Trav 4:            (Looking at his baggage) and first who will be last.”  (Exit sadly.)

Okay, so here’s today’s concept: Jesus’ shorter parables are stage-worthy as well as his longer ones.

When we did The Parable Project, we did not neglect Jesus’ shorter parables like The Pharisee and the Tax Collector in Luke 18:9-14. These are great for new Readers Theater scripters to start with and new actors to try out.

Here’s a script of The Pharisee and the Tax Collector. Note that the text is from the New International Version published by Zondervan. My additions are in italics.

Incidently, I grew up with the King James Version and this parable was always called The Pharisee and the Publican. One day in a children’s Bible quiz we were asked who was the bad guy in the parable of The Pharisee and the Publican. I had no idea what a Pharisee or a Publican was and I didn’t remember reading the story. But my adult family members were mostly good Democrats and they never had anything good to say about Republicans. So, I figured a REpublican must just be the son of a publican. I got the answer wrong. Three cheers for the NIV!

Read the script. Some of my suggestions will follow it.

THE PHARISEE AND THE TAX COLLECTOR

LUKE 18:9-14
CAST:
NARRATOR
JESUS
PHARIS
TAX COLLECTOR

One time we presented this parable at the beginning of an evening-long Prayer Concert at Operation Mobilization’s Love Balkans in Sarajevo, Bosnia. We were reminded by the speaker to humble ourselves before God and confess our sins before we could start petitioning God in other ways. We could not come before Him like the self-righteous religious person did.

When we do RT like this we most often use only symbolic costuming. Usually our troupe will wear solid colored t-shirts or turtle necks (depending on the weather and venue) and khaki pants. The Pharisee might wear a Jewish prayer shawl and phylacteries and a t-shirt of an attention-getting color like red. The tax collector would wear a subdued color, maybe brown or even black. Jesus wears a white t-shirt.

If your group is just getting into RT scripting, try taking this piece through the stages I outlined earlier and adding your own text. Then work at blocking it and doing it first with scripts and then as a memorized piece.

Want to bounce some ideas off of someone? E-mail me at justaseck@fellowshipchapel.net

            Several years ago the Fellowship Drama Team created “The Parable Project.”  I challenged a number of my actors to each take a different parable of Jesus and stage it.  They could use song, dance, improv, rap, RT, music, mime – anything they wanted. The only rule was they had to stay true to the text and lesson of the parable. 

            My plan was to use the evangelistic parables for that summer’s Driveway Drama repertoire.  When the individual pieces were all prepared, we did “The Parable Project” first at Fellowship Chapel in the sanctuary.  It was a very creative, exciting evening and we have performed a good number of those pieces since in many other settings such as worship services, banquets, Driveway Drama and street theater.

            If you are thinking of doing Driveway Drama or want to stage the parables of Jesus yourself, catch the next few blogs.  You can use our scripts as is, think of ways to improve them or start from scratch and do your own Parable Project.

            I’d like to start with one of my all-time favorites.  We call it “The Slighted Invitation.”  It started it as an RT script based on the New International Version of Luke 14:15-24.  As I was scripting the passage I could not get the old Medical Mission Sisters song “I Cannot Come” out of my mind.  (The Medical Mission Sisters put out a few folk-type records in the early ‘70’s.  This was one of their more memorable songs.)  With Steve Schwan plucking the tune away on his guitar, the rhythm and music just worked so well with the text.  We decided to make the narrator a guitarist who keeps the rhythm and the pace going  with his instrument.  It was phenomenal.  (Lesson, make sure you have creative musicians in your group!) 

            With the music came the powerful urge to dance!  This drama is about a festive banquet, after all.  Once we had the script, the music and the actors, we started the readings and then the rehearsing.  The dances we needed became quickly apparent to the cast.  The dancer/choreographers in our group created those.  (Lesson: It’s also nice to have creative dancer/choreographers in your group.)

            The next question was, how are we going to sing it?  My group members are mostly actors first and singers (and dancers) second.  We felt it was more important to dramatically belt the song out (happily, sadly, remorsefully, etc.) than get every note on key.  There were a few places where singing off key was absolutely the best way to go!  So, don’t be intimidated with the music (or dance) here.  Have fun with it.  The audience will laugh hard, but they will also get the message: Don’t diss Jesus’ invitation to the eternal banquet!

 

Here is the script to “The Slighted Invitation.”  The NIV text is in regular font.  Our script additions are in italics.

 

The Slighted Invitation   ©. Ron Seck

Luke 14:15-24

 

Cast of Speakers:

           

            #1— Jesus, Singer

            #2— Master, Singer

            #3— Servant, Singer

            #4— Narrator, Wife, Musician

            #5—Pharisee, Guest 2, Poor, Singer

            #6—Guest 3, Blind (Dark Sunglasses), Singer

            #7—Guest 1, Crippled/Lame, Singer       

 

(Musician (Guitarist) is playing tune to “I Cannot Come” in the background throughout the whole piece to give the rhythm and pace.)

 

Narr:    One Sabbath, when Jesus went to eat in the house of a prominent Pharisee, he was being carefully watched…One of those at the table with him said to Jesus,

 

Phar:   “Blessed is the man who will eat at the feast in the
kingdom of God.”

 

Narr:    Jesus replied:

 

Jesus: “A certain man was preparing a great banquet

 

Master:           (As though ordering his servant)  a great banquet

 

Jesus: and invited many guests.

 

Master:           (as though ordering his servant)  many guests.

 

Jesus: At the time of the banquet he sent his servant to tell those who had been invited…

 

Master:           (to his servant)  tell those who had been invited, ‘Come, for everything is now ready.’

 

Jesus: “But they all alike began to make excuses. The first said,

 

Servant:          (To Guest 1)  ‘Come, for everything is now ready.’

 

Guest 1:          (thinking over the invitation)  ‘Come, for everything is now ready.  (To the servant)  I have just bought a field, and I must go and see it. Please excuse me.’

 

Jesus: “Another said,

 

Servant:          (To Guest 2)  ‘Come, for everything is now ready.’

 

Guest 2:          ‘Now ready, is it?  I have just bought five yoke of oxen, and I’m on my way to try them out. Please excuse me.’

 

Jesus: “Still another said,

 

Servant:          (to Guest 3)  ‘Come, for everything is now ready.’

Guest 3:          (As though interested)  ‘Everything?”

 

Wife:   (off-stage, shrilly) Henry!   Where are you?  I’m waiting.

 

Guest 3:          (shrinking timidly)  I just got married,

 

Wife:   Henry!

 

Guest 3:          (wincing) so I can’t come.’

 

Jesus: “The servant came back and reported this to his master.

 

Servant:          (Exasperated) Master, the first said, ‘I have just bought a field, and I must go and see it. Please excuse me.’  “Another said, ‘I have just bought five yoke of oxen, and I’m on my way to try them out. Please excuse me.’ “Still another said, ‘I just got married, (To Henrietta)  so I can’t come.’

 

Musician and Singer(s):       First verse and chorus of “I Cannot Come”

 

 

Singer:           I cannot come to the banquet, don’t trouble me now.  I have married a wife.  I have bought me a cow.  I have fields and commitments that cost a pretty sum.  Pray, hold me excused.  I cannot come.

A certain man held a feast on his fine estate in town. 

 

Master:           He laid a festive table and wore a wedding gown.

 

Servant:         He sent invitations to his neighbors far and wide

 

Singer:           But when the meal was ready, each of them replied:

 

Guest 1,2,3:   I cannot come.  I cannot come to the banquet, don’t trouble me now.

 

Guest 3:         I have married a wife.

 

Guest 2:         I have bought me a cow.

 

Guest 1:         I have fields and commitments that cost a pretty sum.

 

Guest 1,2,3:   Pray, hold me excused, I cannot come.

                        I cannot come.  I cannot come to the banquet, don’t trouble me now.  I have married a wife.  I have bought me a cow.  I have fields and commitments that cost a pretty sum.  Pray, hold me excused, I cannot come.

 

 

Jesus: Then the owner of the house became angry

Master:           (Angrily reciting as he paces.)  Just bought a field, hey?…must go and see it, hey?  Please excuse me, hey?  Just bought five yoke…on my way to try them out…Please excuse me, hey?  Just got married…to Henrietta (ouch!)…I cannot come, hey?

 

Jesus: and ordered his servant,

 

Master:           Servant!  ‘Go out quickly into the streets and alleys of the town and bring in the poor, the crippled, the blind and the lame.’

 

Servant:          (Repeating hesitantly and with question)   bring in the poor, the crippled, the blind and the lame.’

 

Master:           Yes, bring in the poor, the crippled, the blind and the lame.’

 

Poor, blind, crippled/lame:   You heard him!  

 

Poor:   (pockets inside out) bring in the poor,

 

Crippled:        the crippled,

 

Blind:  (Sunglasses on)  the blind

 

Crippled:        and the lame.’

 

Servant:          (Addressing the poor, crippled, blind and lame.)  Poor, crippled, blind and lame: ‘Come, for everything is now ready.’

 

Musician and Singer(s):       Second Verse and Chorus of “I Cannot Come”)

 

 

Singer:           The master rose up in anger, called his servants by name, said,

 

Master:           Go into the town,

 

Servant:                                 into the town!

 

Master:           fetch the blind and the lame. 

 

Servant:                                                         The blind and the lame!

 

Master:           Fetch the peasant and pauper,

 

Servant:                                                         The peasant and pauper!

 

Master:           for this I have willed, my banquet must be crowded, and my table must be filled.

Blind, Crippled, Poor:          They cannot come.  They cannot come to the banquet, don’t trouble them now. 

 

Blind:  He has bought him a wife.

 

Crippled:        He has married a cow.

 

Poor:   He has fields and commitments that cost a pretty sum.

 

Blind, Crippled, Poor:         

Pray, hold them excused, they cannot come.

They cannot come.  (Do as slapstick)  They cannot come to the banquet, don’t trouble them now.  He has bought him a wife.  He has married a cow (Henry!).  He has fields and commitments that cost a pretty sum.  Pray, hold them excused they cannot come.

 

 

 

Poor:   Whoa!  Will you look at this spread!

 

Crippled:        What a feast!

 

Blind:  It smells absolutely delectable.

 

Crippled:        It tastes great!

 

Poor:   And it’s soooo filling!

 

Crippled:        Who would be stupid enough to turn this down?

 

Poor:   I don’t know. 

 

Blind:  Probably Henry.

 

Servant:          “‘Sir,’

 

Jesus: the servant said,

 

Servant:          ‘what you ordered has been done, but there is still room.’

 

Jesus: “Then the master told his servant,

 

Master:           ‘Go out to the roads and country lanes

 

Servant:          (point up and toward the audience)  to the roads and country lanes!  (Striding toward them.)

 

Master:           and make them come in,

 

Musician and Singer(s):       Third Verse and Chorus of “I Cannot Come”

 

 

 

Singer:           When the poor had assembled, there was still room to spare, so the master demanded:

 

Master:           Go search ev’rywhere.

 

Servant:                                             Ev’rywhere?

 

Master:           to the highways and the byways

 

Servant:                                             The highways and byways!

 

Master:           and force them to come in.  My table must be filled before the banquet can begin.

 

Guests 1,2,3: I cannot come!  (Do as a square dance)  I cannot come to the banquet, don’t trouble me now.

 

Guest 3:         I have married a wife.

 

Guest 2:         I have bought me a cow.

 

Guest 1:         I have fields and commitments that cost a pretty sum.

 

Guest 1,2,3:   Pray, hold me excused, I cannot come.

I cannot come.  (Sing as a round)  I cannot come to the banquet, don’t bother me now, I have married a wife, I have bought me a cow.  I have fields and commitments that cost a pretty sum.  Pray, hold me excused, I cannot come.

 I cannot come.  (Sing in unison, with kick line.)  I cannot come to the banquet, don’t bother me now, I have married a wife, I have bought me a cow.  I have fields and commitments that cost a pretty sum.  Pray, hold me excused, I cannot come.

 

 

Servant:          (To people in the audience)  Come in…for everything is now ready.’   Come in…for everything is now ready.’  Come in…for everything is now ready.’

 

Master:           so that my house will be full.

 

Servant:          Come in…for everything is now ready.’

Master:           I tell you, not one of those men who were invited will get a taste of my banquet.’”

 

Musician and Singer(s):       Fourth Verse and Chorus of “I Cannot Come”

 

 

Singer:           Now God has written a lesson for the rest of mankind:  If we’re slow in responding, He may leave us behind.  He’s preparing a banquet for that great and glorious day.  When the Lord and Master calls us, be certain not to say:

 

Master, Servant, Singer:    

I cannot come!   

 

(Guest 1,2,3) approach now to enter the banquet, but are turned back by the Master, Servant and Singer.)

 

You may not come to the banquet, don’t bother us now,

 

Master:           You have married a wife,

 

Servant:         You have bought you a cow. 

 

Singer:           You have fields and commitments that cost a pretty sum. 

 

Master, Servant, Singer:    

We hold you excused, You may not come.

                                   

(In Unison) You may not come.  You may not come to the banquet, don’t bother us now, You have married a wife, You have bought you a cow.  You have fields and commitments that cost a pretty sum.  We hold you excused, you may not come.

 

                        (Repeat with kick line)  You may not come.  You may not come to the banquet, don’t bother us now, You have married a wife, You have bought you a cow.  You have fields and commitments that cost a pretty sum.  We hold you excused, you may not come.

 

 

Servant:          (Continues during singing)  Come in…for everything is now ready.’

 

Guests 1,2,3: (forlornly, as guitarist plays final chords) We cannot come.

 

_____________________________________________

 

A quick final suggestion to new acting groups: read this script over together several times with the Medical Mission Sisters’ tune being strummed in the background.  See if it “comes to life” for you.

            This is a great way to introduce an outreach message on this Bible text.

 

Again, if you have questions about this piece, or any other, e-mail me at Justaseck@Fellowshipchapel.net

 

Yours for His Kingdom,

Justaseck

So here’s today’s Christian Drama concept:  Don’t forget the driveways!

            Picture a beautiful, summer evening in your neighborhood.  The neighbors are gathering on your front lawn with their lawn chairs and blankets.  You are serving coffee, lemonade and strawberry shortcake.  Everybody is in a rather festive mood.  They’ve never participated in an event quite like this before. About 25 to 40 people are gathered. Then an actor steps on stage – your driveway – and welcomes everyone to an evening of “Driveway Drama.”  For the next hour 6to 10 sketches are performed: some short, some longer, some funny, some serious, some secular and some focused on having a relationship with Jesus Christ.  The performance ends with a thank you from the actors, an offer of a booklet that speaks further about knowing Jesus personally and more coffee and desserts from the host and hostess.

            In the days after the performance, you hear comments like these:  “I didn’t know what I was coming to when you invited me but I really enjoyed myself.  We ought to get the neighbors together more often.”  “I’m not a religious guy, but I really liked what they did and how they did it.  It’s really gotten me thinking.”  “I never understood what grace was all about until I saw the prodigal son one.  Having a relationship with God is all about grace, isn’t it?”

            So why not take your drama to the driveways of your community?   Here are a few suggestions on how you can do it.

1.                  Put together a repertoire of drama sketches you can perform on a driveway for a neighborhood of people, young and old.  Pick a theme for the pieces you are looking for.  One summer we chose “Read for Your Life.”  Then, select a variety of dramas that fit your theme.  Choose some that are just funny that young and old will enjoy.  One piece we chose that summer was an RT adaptation of the children’s story “The Loudest Noise in the World.”  Our message there was “read to your children.”   Then we exhorted:  “Read the classics.”  We performed a hilarious piece from Mark Twain’s Innocents Abroad.  Then we performed some scripture RT’s from the Gospel of John under the rubric “read the Good Book.”  Afterwards we handed out NIV Gospel of John booklets.

2.                  Select a two week time period during the summer when all your cast is committed and available to perform.  This is crucial to your success.  Your cast members will all want to take vacations during the summer and it’s really hard to find a time when you can all be together to perform.  Choosing your two weeks well in advance of summer will eliminate this problem.  It will also make it much easier for you to schedule performances.  We try to schedule around 10 driveway performances for that two week period.  Any more than that may kill your cast!  Summer outdoors can be hot and tiring as you set up, perform and then take down.

3.                  Rehearse.  Rehearse.  Rehearse.  Certainly, you are an amateur group, but be a good amateur group.  Make it worth the while of the neighbors to come.  You are also advertizing for future outreach performances you may be doing at your church.

4.                  Do a dress rehearsal performance outdoors before the people of your church.  This is a good shake-down cruise before you got out on the road.  (How’s that for a mixed metaphor?)  Changing costumes and props for new sketches within 2 minutes takes some practice.  You should have that part down as well as the dramas before you go out on the road – or should I say driveway.

5.                  Find homes that would be willing to host a performance in their neighborhood.  Their job will be to invite their neighbors to the show, prepare the desserts and be hosts for the evening.   A couple of days before a performance, we usually pass out flyers in the neighborhood, reminding them of the day, hour and location of “Driveway Drama.”

6.                  Pray and pray again!  Performing Driveway Drama is a lot of fun, but there will be many spiritual battles as well.  You are presenting the Good News of God.  In one neighborhood we performed, we were warned about a very cranky neighbor.  We prayed and invited her to come.  She called the police on us instead, complaining we were disturbing the peace!  The squad car arrived in the midst of our performance; the policemen got out and … proceeded to watch the rest of the show.  They really enjoyed it!  On a more serious note, our theme one summer was “Parables” and we had done a number of the salvation-oriented parables of Jesus.  I had one good opportunity to get together with the “non-religious” fellow (above) who told me he was thinking a lot about our presentation.  Before I could meet with him again, he died of a heart attack.  I always think of him when I perform.  We are handling the life-saving Gospel of Christ.  Who is worthy of such a thing?  Pray for power.

7.                  When you perform, be bold but be gentle.  This driveway is in your neighbors “field.”  He is using you to help cultivate the ground and sow the seed of the gospel.  It may not yet be time for the harvest.  Don’t bruise the fruit!  Perhaps you will be able to come back again during the harvest season.  This is one reason why we carefully think through and prepare the literature we will hand out afterwards.  When we did “Parables” we wrote up little one page tracts on each parable of Jesus to help our audience members to think more deeply about what they had just seen.   These were available after the performance to those who wanted to take them.

In my next blog, I’ll share with you some of the scripts we used doing “Driveway Drama.”  You will possibly find them useful for many other venues as well, just as we have.

If you have questions I might be able to help you answer, my e-mail is justaseck@fellowshipchapel.net

Yours for His Kingdom,

Justaseck

So here’s today’s concept: All the World’s a Stage. So use it!

Our Fellowship Drama Troupe has performed in many different venues. We have played on stages, mutli-stages surrounding the audience, platforms, in-the-round, indoors and outdoors and even on suburban driveways! When we go to Europe we often perform in parks, on streets, in city squares and even on parking lots.

There seems to be much more freedom to do street drama in outdoor venues in Europe than in the U.S. I have been refused permission to perform in a number of public parks here in the good old land of the free! The reason given: “If we let you perform, we’d have to let others!” Hmmmmm. Fear of the friendly old A C L U has stifled a lot of outdoor expression., I’m afraid. Also, in Europe, the city squares and parks seem to be much more vibrant.. There is almost always an audience to play to.

By now you are probably figuring out that we do not always wait until the audience comes to us to stage a performance. So let’s talk venues for Christian Outreach Drama shall we? Get your creative juices going. Stop thinking merely of proscenium arches, flats, curtains, raised stages and theater lights. Remember what Shakespeare said: “All the world’s a stage.”

One of our outreach strategies is to do dinner theater. When we do so, we try to present dramas that drop the evangelical Christian jargon, inside jokes, and stereotyping so prevalent in much of Christian drama (which seem to be written primarily for the Christians in the audience.) I’ll write more about our Spotlight Events later.

When I came back from Europe the first time, I was exhilarated by the opportunities to do outdoor, almost impromptu, performances: find a public place, set up perform a few sketches, talk with some people, move on. After being turned down seeking permission to do the same here in the States, I began to wrack my brains for equivalent outdoor venues to perform and sow the seeds of the gospel here.

The idea came to me one day when our drama team was rehearsing. We live in a beautiful, older subdivision north of Detroit and I have a circular driveway. We had decided to practice some of the sketches we were going to be doing in Europe out on my driveway since we would be doing them outdoors overseas. As we rehearsed, some of my neighbors tooling around the neighborhood stopped to watch what was going on. So was born “Driveway Drama”!

I’ll tell you more about DD in my next blog.

Okay, here’s today’s concept: Once you know how to create your own Readers Theater Scripts, you can go in a lot of creative directions.

 

I do not want you to get the idea that I’m only a one string violinist when it comes to RT.  This is certainly not the only method of drama I have used.  Far from it.  I just find that it’s an excellent place to begin when you’re starting to create your own scripts for production.  If it’s a work of great literature you are scripting (and the Scriptures certainly are that), you already have a piece of great writing!  You also have a time-honored plot, interesting characters, and an eternal message to work with!  All you have to do is script it into drama!

 

            Once you have your script finalized, you can add a step 7: Enhance the script using music, audio, video, art, mime, dance, lighting, special effects, etc.?

 

This summer I took a drama team to Bosnia to participate in an arts festival in the city of Bihac .  We were asked to provide outdoor drama for a park setting.  I wanted to do the story of The Good Samaritan.  It has a great message from Jesus for people who are struggling to love their neighbors of different ethnicity and religion after a cruel civil war.  Prejudice, mistrust and bitterness are major issues with these dear, wounded people.

 

I faced several problems in doing our normal staging of the Good Samaritan.  The major one was language.  We would be in Bosnia .  How many onlookers, even if they knew some English, would be able to follow what we were saying?  I decided to restage it as a pantomime.  We would use the same basic blocking, have the same motivation behind our movements, but we would not verbalize the lines.

 

In the place of an audible script, we chose a very fitting musical background that portrayed well the emotion and changing moods of the scenario.

 

Finally, I decided to do it in Biblical costumes that could be quickly thrown on by the actors.  The final touch was to use larger-than-life Greek tragedy masks for all the characters: Jesus, The Priest, The Levite, The Lawyer, The Two Robbers and The Samaritan (a darker colored mask.).  This meant that we would use the larger-than-life motions of Greek Theater.  I chose to do this because of the park venue.  I wanted the drama to be seen up close and also from a great distance.  I wanted to emphasize the universal message Jesus was preaching and the tragedy of the lawyer (and people today) not getting it.  Finally, I didn’t have enough men on the team to take all the male parts.  Using Greek masks meant I could use women.

 

            The pantomime version of The Good Samaritan turned out to be one of our most popular pieces at the festival.  We did it numerous times.  It was all based off of the RT script we had created earlier.

 

            I hope this gets your creative juices going.  If I can be of help, e-mail me at justaseck@fellowshipchapel.net

 

Yours for His Kingdom,

Justaseck