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Intersections of Theatre, Activism, and Born-Again Christianity: American Evangelical Theatre from 1974 to 2004

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Intersections of Theatre, Activism, and Born-Again Christianity: American Evangelical Theatre from 1974 to 2004 Intersections of Theatre, Activism, and Born-Again Christianity: American Evangelical Theatre from 1974 to 2004 By Steven W. Wood, M.A. A Dissertation In THEATRE Submitted to the Graduate Faculty of Texas Tech University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dorothy Chansky, Chair of Committee Norman Bert Bill Gelber Tina Fuentes Eric Fried Peggy Gordon Miller, Dean of the Graduate School May 2012 Copyright 2012, Steven W. Wood DEDICATION I dedicate this to all my teachers, spiritual mentors, friends, and family. Thank you for your many contributions. Hopefully, this dissertation repays—in some small measure— my debt to you. Texas Tech University, Steven W. Wood, May 2012 ACKNOWLEDGEMENTS There are many people who contributed to my dissertation, so many, that it might not be possible to remember and fully acknowledge all of them. It is fitting to begin my thanks with Dorothy Chansky, my dissertation chair. I cannot fully express my appreciation for her. Dr. Chansky is one of the smartest teachers I have ever known and continuously schools me in the art of critical objectivity. I also appreciate my committee: Dr. Bill Gelber, Dr. Norman Bert, Dr. Eric Fried, and Professor Tina Fuentes. Thank you for your participation, words of encouragement, tough questions, and patience. My family and friends did their best to understand and support my graduate studies. I am grateful for all they gave up so that I could move forward with my career. Dr. Brian Steele and the other deans at the College of Visual and Performing Arts at Texas Tech University played a major role in helping me start this project; Dr. Marti Runnels and my colleagues at the School of Fine Arts at Wayland Baptist University played a crucial role in helping me finish it. A few other names that deserve attention include Dr. Brian Maxwell, Dr. Dale Savidge, Bryanne Barker, Curt Cloninger, Altamesa Church of Christ, the donors of the Cash Grant, Kim Messinger, Dr. E.J. Westlake, Mike Novak, the late Dr. Rembert Carter, Dr. Kevin Wetmore Jr., Dr. Michael Firman, Dr. Peter Senkbeil, Paul Patton, and Joe Frost. Becky Davidson at the Texas Tech University Graduate School and Elizabeth Bowen at the Texas Tech University Writing Center helped me edit the final revisions of this dissertation. Although my children Jade and Jake did not contribute directly to this project (and had to endure my constant absences), I was motivated to finish it because of them. Finally, I thank my wife Nicole for sharing with me the vision of getting my doctoral degree in theatre. Had she not agreed to move to West Texas, none of this would ii Texas Tech University, Steven W. Wood, May 2012 have been possible. I doubt there will ever be anything I can do for her that will match the years of sacrifice she endured so I could finish what we started together. iii Texas Tech University, Steven W. Wood, May 2012 TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………….ii TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………….…...vi CHAPTER I. DEFINING THE TERMS, DEFINING THE TIMES: EVANGELICAL THEATRE IN THE UNITED STATES BETWEEN 1974 AND 2004………….1 Defining American Evangelicalism……………………………………………….3 A Literature Review of Evangelical Theatre and Political Culture……………...19 Toward Models of Understanding Evangelical Theatre and Activism…………..34 II. SUSTAINING EVANGELICAL THEATRE: LILLENAS DRAMA AND CHRISTIAN IN THEATRE ARTS ………………………………………50 Profiles of Lillenas Drama and CITA……………………………………………50 The Contributions of Lillenas and CITA to Evangelical Theatre………………..65 III. PROSELYTIZING THE NEARLY CONVERTED THE SEEKER SERVICE SKETCH DRAMAS OF WILLOW CREEK…………….………….80 Seeker Dramas and a New Way of Making Community………………………...81 Seeker Dramas and a New Means of Proselytizing……………………………...95 Conclusion……………………………………………………………………...104 IV. EDUCATING BORN-AGAIN THEATRE ARTISTS THEATRE PROGRAMS IN EVANGELICALCOLLEGES AND UNIVERSITIES..…….108 Integrating Theatre Training and Evangelicalism………………………………112 Challenges to Integrative Solutions in Evangelical Performance………………129 Moving Beyond the Boundaries of Integration………………………………...142 V. THE GOSPEL ACCORDING TO CURT, MAX, AND TOM MONODRAMATIC PORTRAYALS OF JESUS…………………………..…148 The Gospel According to Curt Cloninger………………………………………151 The Gospel According to Max McLean………………………………………..163 iv Texas Tech University, Steven W. Wood, May 2012 The Gospel According to Tom Key…………………………………………….169 Conclusion……………………………………………………………………...177 VI. CONCLUSION: THE RISE, FALL, AND FUTURE OF EVANGELICAL THEATRE ………………………………………..………...182 Benefits of Studying Evangelical Theatre and Final Observations…………….183 Scholarly Limitations and Future Investigations in Evangelical Theatre………191 WORKS CITED,.………………………………………………………………………197 APPENDICES………………………………………………………………………….209 Appendix A: Minivan Farm by Mark Demel…………………………………..209 Appendix B: Richard 1992 by Donna Lagerquist……………………………...215 Appendix C: Selections from Witnesses by Curt Cloninger……………………218 Appendix D: Selections from Red Letter by Curt Cloninger…………………...221 v Texas Tech University, Steven W. Wood, May 2012 LIST OF FIGURES 1: Photo of Willow Creek Community Church’s Auditorium…………………………...91 2: Production Photo of a Willow Creek seeker drama…………………………...............94 3: Production Photo of a Willow Creek seeker drama…………………………...............94 4: Headshot of Curt Cloninger………………………………………………………….159 5: Headshot of Max McLean……………………………………………………...........166 6: Headshot of Tom Key………………………………………………………………..172 vi Texas Tech University, Steven M. Wood, May 2012 CHAPTER 1 DEFINING THE TERMS, DEFINING THE TIMES: EVANGELICAL THEATRE IN THE UNITED STATES BETWEEN 1974 AND 2004 Between 1974 and 2004, evangelical Christians in the United States participated in theatre in ways that previous generations of conservative Protestant Americans had not. The evangelical theatre phenomenon included many activities such as elaborately staged indoor and outdoor Passion plays and Hell Houses; various church drama ministries that gave laity (all of those people in the church who are not part of the clerisy) an active role in church services; several networks of conferences, drama newsletters, publishing houses, and workshops to spread theatre interests among people; touring drama groups and resident theatre companies; theatre programs in higher education; and solo performances of Jesus and other characters from the Bible. The people involved in the evangelical theatre phenomenon certainly represented a variety of individual cultural, political, and personal religious beliefs (not to mention regional differences); but their participation in theatre helped them to forge their place in the larger evangelical collective and bridge denominational differences though shared theatre interests. This dissertation identifies theoretical and critical models that best explain how theatre shaped evangelical identity between 1974 and 2004. There are many ways to study evangelical theatre, too many for one dissertation. Therefore, I have chosen to limit my investigation to case studies in publishing houses, networking conferences, megachurch drama, theatre programs in evangelical higher education, and monodramatic performances of Jesus. The case studies in publishing houses, networking conferences, and higher education theatre programs consider ways in 1 Texas Tech University, Steven M. Wood, May 2012 which evangelicals forged their imagined community through theatre making. These important organizations provided support for evangelical theatre people during the period my study covers. They helped link mutual interests, create friendships, and give evangelical theatre people a sense that other born-agains in the United States shared a passion for theatre. The case studies in megachurch drama and Jesus monodramas examine highly visible exemplars in evangelical theatre performance. These particular case studies were not only highly visible to other evangelicals, but to non-evangelical audiences and critics. They represented the success born-agains achieved in putting their theatre performances before non-evangelical audiences during the thirty years my study considers. Three sets of introductory questions organize the present chapter. First, who are American evangelicals? What do they believe? How are they organized? What do they want for the United States and the global community? Next, according to the literature review, what have scholars said about the evangelical theatre phenomenon? What did those who participated in the phenomenon have to say about it and what about those outsiders who have observed and analyzed it? Similarly, how does additional research about other aspects of American evangelicalism contribute to studies about evangelical theatre? Finally, why a study about evangelical theatre and what makes the dates 1974 to 2004 relevant to the phenomenon? Like so many other Christians before them, American evangelicals have been active users and producers of media and technology for religious purposes and proselytizing efforts (Frykholm 34), but how evangelicals specifically used theatre to express, define, and challenge their collective identity between 1974 and 2004 is a separate, focused area of inquiry. 2 Texas Tech University, Steven M. Wood, May 2012 Defining American Evangelicalism American evangelicalism has been, and continues to be, an ecumenical movement (or an initiative promoting religious unity) among primarily conservative Protestants
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