Lucas Hnath’s The Christians directed by Timothy Bond is a juvenile undramatic portrait of a mega church and its Pastor. Playing at the Wilma Theatre through May 29th, the play tells the story of Pastor Paul, the founder of a successful super church who delivers a sermon (perhaps not incidentally on the day the church, after 10 years, is debt-free) wherein he changes his theological belief on the existence of hell.
After telling a story about a young boy, not a Christian, who heroically saves his own sister by running into a burning building, Pastor Paul concludes from this parable, that this boy will live on in heaven. Hell, Pastor Paul teaches, from the original Greek, is a dumping ground, not an actual place of eternal damnation.
This sermon, delivered by actor Paul Deboy, to his chorus, his congregants (the audience), his wife, (Erika LaVonn) and assistant Pastor Joshua (Delance Minefee), catalyzes his downfall as church membership declines and Pastor Joshua starts his own successful church. The rest of the play vaguely explores this theological controversy in a decidedly dilettantish manner, throwing around biblical verses in a cursory way that does not reflect deeply on the issues Hnath raises.
During the play’s opening sequence, we are entertained by a chorus of 19 singers (all local Philadelphians under the direction of Michael Keck) who sing evangelical songs (indeed I saw one audience member sing along clearly comforted by the play so far) with lyrics such as “build your hopes on things eternal/hold his hand, God’s unchanging hand.” The set, artfully designed by Matt Saunders, reproduces the super church environment.
But Hnath’s investigation of the theological concepts of hell, heaven, belief and faith fall short, lacking much substance. There is little, if any genuine drama in the play – Pastor Paul knows exactly what he wants and seems fearless and even arrogant in his manner. His tone and voice are reminiscent of Garrison Keillor from the Lake Wobegon live radio show – a preternaturally calm tone with a sing-songy cadence that does not suggest any struggle with his new belief on sin and the after-life. Pastor Paul seems almost too sure of his theological beliefs and feels talk-show-hosty and condescending to his parishioners.
Hnath too easily settles for a high concept to the detriment of much substance in this undramatic portrayal of a minister and his church. When his wife leaves him at the end of the play, because she does indeed believe in hell and finds his beliefs anathema, there is no pathos, the characters remain hollow, not even rising to the level of ideological talking heads.
The play is more often than not manipulative in its use of music and religion and relies too heavily on them to achieve some higher emotional effect. Nothing seems to be at stake for Pastor Paul who seems at peace in his newfound theological convictions, willing to pay the price (his church, his family) for his beliefs. When he repeats the line “I have a powerful urge to communicate with you, but I find the distance between us insurmountable” it sounds more like an advertising slogan or something easily blurbed by a reviewer than a deeply felt piece of writing.
“The Christians.” Through May 29 at the Wilma Theater, 265 S. Broad St. Tickets $10 and $25. Information: 215-546-7824. www.wilmatheater.org.