by Angelo Auriemma
Upon entering the auditorium to watch the Muncie Civic Theatre’s rendition of “The Christians,” you may find yourself surprised and confused at first glance. Rather than a conventional theater’s seating arrangements and a bustling, impatient crowd, you are greeted with two aisles of pews, as well as the intimate accompaniment of a church-style band from the far-end of the space.
The ways in which the set design of “The Christians” makes its spectators feel as though they are truly in a church setting is not simply for initial shock value. Rather, its unique layout and opening few minutes are produced in a manner that causes the audience to truly believe that the actions they are witnessing are authentic.
As the lead pastor and protagonist, Paul (portrayed by BJ McKay) walked down the aisle towards the main stage for his introductory monologue, the audience was encouraged to sing along with the band’s hymns. The lyrics, shown on a projector behind the stage, allowed everyone to feel as if they were actually in a mass, and I was surprised at just how many audience members chose to participate in singing the opening hymns as if they were actually worshipping. The musicians were fantastic – each bolstering crisp, strong voices that were so clearly evoked from a sense of passion.
On a personal note, I feel inclined to restate just how unanticipated and perplexing the opening few minutes of this unorthodox-style performance are. Knowing little about the play, I was genuinely confused as to how the story was to unfold. As Paul delivered a convincing and genuine sermon, I was legitimately convinced he was an ordained pastor speaking from his experience rather than a script. The brilliance and genuineness of McKay’s performance was brought to new heights due to the production thrusting the audience into the show and making them active participants. As we entered this fictional story, we saw him as one of us – equally as real and authentic.
Paul delivers a monologue regarding a young man who saved his sister from a burning building, though was not a religious man. While his peers believed that the young man would be doomed to hell for his lack of belief, Paul disagreed, standing firm that his sacrifice and heroics deemed him worthy for a life in heaven despite his secularity. While this opinion did not divide the room in a manner equal to that of “Captain America: Civil War,” Paul continued on to note that he did not believe in a hell at all. Showcasing his thorough understanding and familiarity with the scriptures, Paul debated an opposer by pointing out how hell is never clearly described in the bible, and that heaven should be open to all.
This statement of Paul’s beliefs are what brings about the remainder of the show and its conflict. As his opinion divides his family members and fellow worshippers at the church, it also splits the audience, who are tasked with writing which side they agree with on a scrap of paper and submitting it. Although this is an artificial poll that ultimately has no impact on the story, it is another interesting choice in making the viewers feel more like a congregation than an audience.
Paul is criticized for his statements – many worshippers stop attending the church and he is threatened with losing his position as head pastor. Some of his remaining attendants question his teachings and his wife is stricken with confusion as to how she should continue their relationship given their disagreements in belief.
Once the opening few scenes are done and the performance drops the veil of being a mass, the true play begins in which we see a person who is tasked with defending their statements and beliefs despite risking the loss of everything they have.
The acting is excellent throughout with no poor performances to point out. As previously mentioned, McKay is raw and relatable, but shines the brightest when accompanied by his wife, played by Laura Williamson. Not only do they share a chemistry that is weighty and believable, but Williamson’s candid retorts in which she validates her beliefs and disagrees with her husband were met with cheers and support from the audience on multiple occasions.
Regarding the writing, I was pleasantly surprised at how the play strayed from simply being a promotional piece for Christianity. The debate of the show isn’t “is God real?” Instead, it is about a group of people who all share a similar religion, though one opinion within that religion causes a rift that is insurmountable. The magnitude that these disagreements splinter relationships and crumble a place of worship is a poignant message about religion and society as a whole.
The play never feels the need to be too on-the-nose or stray from its subject matter, though it eloquently portrays the way that opinions can be destructive, and how many of us cannot accept others’ inherent differences.
While the broad writing and dialogue is excellently handled, I found the conclusion of the story to be off-putting. The places that the characters are left is well-written, though its impact and finality were not shown well enough, leaving the audience genuinely confused as to if the show was finished or not.
Altogether, “The Christians” is a truly unique and well-crafted show that is worthy of anyone’s time, religious or not. Outside of the topic of Christianity, it does an exceptional job at portraying grounded, honest people who are trying to stick together despite a difference in belief pulling them apart.
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