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CURRENTLY IN CULTURE
Drama and the Divine

Martin E. Marty

Finding evidence of religion in the theatre is not difficult these days, if Celia Wren’s report in the New York Times, 29 July 2001, is accurate. Finding audiences that do not squirm when religion does show up, or finding actors who feel comfortable in “saintly” roles is more difficult. Wren interviewed women who portray a Salvation Army trooper, a novice nun and a devout churchgoer, in works by George Bernard Shaw, William Shakespeare and others. She concludes that “Making piety appealing in a climate of modern skepticism” is very difficult for performers today, especially women.

Why? For one thing, “purity” is out. Portrayals of “female goodness”, Wren writes, “can suggest age-old stereotypes of unworldly virgins and saintly prigs”. Furthermore, the actors say that “outspoken spirituality” on stage seems to embarrass audiences.

The actors interviewed by Wren are serious women. They give the roles their best and reflect on what religion means in their lives and the lives of their audiences. Some confess to being drawn to the characters they play because the characters believe in something enough to rearrange their lives in light of it. Most of the actors are, however, a bit too ready to use words like “fanatic” and “self-righteous” in reference to Christian roles.

In describing their own faith, several used the familiar: “I’m not religious, I’m spiritual.” Diane Sutherland, who “was reared as a Catholic”, said, “I’m not a super religious person. I think I’m a spiritual person. I pray a lot when I get fearful.” Cherry Jones, who was “brought up a Methodist”, believes “in a transforming power, whatever that means”. Sanaa Lathan “has no particular religious background but is ‘spiritual’”.

Why should they and their audiences be uneasy when lives formed by the religious faiths adhered to by overwhelming majorities of the people of the world and North America get portrayed on stage? Are playwrights and actors presenting audiences with stereotypes and caricatures? Have the “fanatics” and “enthusiasts” so taken over the public roles in religion that other devout styles have been overlooked or forgotten?

In a culture where four out of five people identify with a faith that sociologists call “Judeo–Christian”, one has to assume that believers go to the theatre. They must be members of the audiences allegedly embarrassed by outspoken spirituality. Surely the religion that they practise and experience outside of the theatre isn’t only “fanatic”. Why does “spirituality” continue to get a free ride in this culture when it produces “fanatics” and “enthusiasts” as readily as churches and synagogues do?

This is a “Sightings” column from the Martin Marty Center at the University of Chicago Divinity School.

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Last modified November 13, 2001.

© 2001 Mennonite Brethren Herald.
Published by the Canadian Conference of MB Churches.
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