Next Steps: Catholic Artists’ Community in NYC

Brief update to let you all know what’s going on with the institute of consecrated life devoted to artists:

I’ll be disappearing to the family ranch in Kansas for the months of September-December to finish my dissertation. I will not be working on anything not related to my dissertation (which is on the Eucharistic theologies of the Reduta Theatre, the Rhapsodic Theatre, and Jerzy Grotowski’s Laboratory Theatre), except for a talk in New York City in November. (If you’re in the NYC area and want to get together then, let me know in the comments!)

In January, I plan to move to a house of spiritual formation for Catholic young adults on Long Island, New York. There, for a year, myself and other interested artists with whom I have been discussing the idea will lay the groundwork for a lay community of Catholic artists in the New York City area. Some of us will also be exploring the creation of a theatre company, or at least the mounting of individual productions.

open hands

Here are the answers to some questions you might be thinking:

Q: What’s a lay community? Is it the same idea as the institute of consecrated life?

A: The two ideas are different. The institute of consecrated life would involve eventual permanent vows of poverty, chastity and obedience in an institute recognized by the Roman Catholic Church (with a form of affiliated membership for non-Catholics). The lay community idea involved Catholic artists living together in intentional community, without vows or any promises of permanent membership/residence. I have discovered that while there are a few artists who feel called both to an artistic vocation and a consecrated vocation, there are many more who would like to live in community with other believing artists in a way that provides spiritual support for all the members, but without placing limitations on their work or careers, or their ability to pursue dating and marriage. The lay community would, basically, be a group of Catholics who are also artists living together in a shared house or apartment.

I expect that, out of the lay community, there may eventually arise a few candidates interesting in pursuing a consecrated life dedicated to service through the arts and to artists. At that point, we will explore the institute idea more fully.

Q: What would this lay community look like?

The current idea is that a small group of Catholic artists – probably 3-6 to start – would live in community in either donated or privately rented accommodation. (If you have any leads on appropriate sources of housing, please comment below, or email me!) We would continue to work in our normal jobs – as actors, filmmakers, painters, etc. – and would maintain our own individual finances. In order for the community to be intentional community, we would have at least some structured shared time together each week. (For example, when I lived in the Oxford University Catholic Chaplaincy, we took turns cooking each other supper on Sunday nights.) For those who wish, there could also be some times of shared prayer each day. In addition, anyone who wants to cooperate on a ministry project, could. However, requirements would be flexible, and not oppressive. This would be a freely-chosen and freely-developed way of community life, chosen for a period of time, not a permanent commitment to a structured monastic timetable. One of the benefits of living in the community house in which I intend to live over the next year will be learning what works and what doesn’t in structuring a community, especially one in which the members are not necessarily working normal 9-to-5 jobs. (For example, it makes no sense to require a house full of actors to attend communal morning prayer at 7.30am. Actors often work until midnight.)

Q: Why Catholic? Why not Christian (or ecumenical)?

The primary answer to this question, at the moment, is that it is Catholic artists who are interested. I have had conversations with non-Catholic Christian artists who are interested in some form of community life, but the ones who have indicated immediate willingness to create something now are Catholic artists interested in creating a Catholic community. It is important to me, as a Catholic raised in a Protestant church, that all the members of Christ’s Body work together. Therefore, I hope that a ‘merely Christian’ community can also be founded at some point. And if anyone wants to take up that project, let me know how I can support you. I am excited to see how the Spirit brings together these two ideas.

As for a religiously-ecumenical community – that is, a community of artists who belong to a variety of religions – I think such a community is a good idea. It is not, however, the idea I feel called to pursue. For me personally, at the moment, it is important to partner with other artists who share faith in Christ, so that we can support each other in that faith, and preach Christ to the world. However, my prayers and blessings go with anyone who does feel called to witness to the commonality of faith between people of different religions by living together in intentional community. For, in the world, we are all called to live together in community and love.

Q: How can I learn more?

Fill out this form, and let me know your questions. If you request, I can add you to my list of people to inform via e-mail once we get started. I can also send you a copy of my draft document describing the proposed institute of consecrated life dedicated to artists and service through the arts.

If you have any thoughts, questions, or comments, or would like to support this project, please comment below, or shoot me an email. Thank you for your prayers.

Yours,
Cole

_________

Image credit: Reg A. Klubeck – “I looked at my hands today”

Juliusz Osterwa’s Dal & Genezja: A Vision for Theatrical Religious Orders from Post-War Poland

From Kazimierz Braun, A History of Polish Theater, 1939-1989: Spheres of Captivity and Freedom (Contributions in Drama & Theatre Studies, #64) (London: Greenwood Press, 1996), p. 20, bold added:

While in Warsaw the Clandestine Theater Council worked on practical plans for the operation of theater after the war, in Cracow [the famous actor and director Juliusz] Osterwa alone drew up a statement on the moral, ideological, and religious foundations for future theater. Osterwa based his concepts on a thorough critique of the prewar Polish theater, including his own work, from an aesthetic as well as ethical point of view. He concluded that the Polish theater, along with the entire country, must undergo a “great transformation,” as a result of their “purification” by the sufferings of war. The purpose of the transformed theater would be an absolute devotion to the service of the nation and of God (testimony to Osterwa’s Catholicism). In the process of developing these postulates, Osterwa created a vision of the entire theatrical life in free Poland, encompassing different types of theater institutions, their objectives, organization, architecture, and rules for the Actors’ Union. To establish new work ethics and transform theater people internally, Osterwa envisaged two theatrical associations, Dal (“Further away”) and the Fraternity of St. Genesius or Genezja (“Born again”). Dal was to be a community of theater artists oriented toward service to society through service to art. A personal vocation to devote one’s entire life to theater would be a precondition for membership. Besides training, rehearsing, and performing in the productions, members would supervise community groups, teach acting, lecture, preach, and publish theater manuals. They would work within a cooperative structure, and their way of life would approach the monastic. Genezja would be an artistic-religious order, a brotherhood of theater people, representing the next step up beyond Dal. Service to God, within the Roman Catholic Church, would be the first priority in Genezja and the basis of service to society, through the medium of theater. The monk-members would lead a monastic life, observing religious practice, training as actors, preparing performances with religious themes, and organizing church ceremonies in which they would participate as lectors, vocalists, and preachers. Both Dal and Genezja were clearly utopian projects, but, like every utopian idea, they challenged the present and contained a seed for the future: a call for total sacrifice to theater and for the subordination of theater itself to higher values.

Anyone know where this statement can be found, or if either of these two ideas have been taken up? Anyone want to make them happen?

Grotowski’s Vision for a Theatre Renewal

From Jerzy Grotowski, “The Theatre’s New Testament”, in Towards a Poor Theatre, ed. Eugenio Barba (London: Methuen Drama, 1991), pp. 50-51:

From where can this renewal [in the theatre] come? From people who are dissatisfied with conditions in the normal theatre, and who take it on themselves to create poor theatres with few actors, “chamber ensembles” which they might transform into institutes for the education of actors; or else from amateurs working on the boundaries of the professional theatre and who, on their own, achieve a technical standard which is far superior to that demanded by the prevailing theatre: in short, a few madmen who have nothing to lose and are not afraid of hard work.

It seems essential to me that an effort be made to organize secondary theatre schools. The actor begins to learn his profession too late, when he is already psychically formed and, worse still, morally moulded and immediately begins suffering from arriviste tendencies, characteristic of a great number of theatre school pupils.

Age is as important in the education of the actor as it is to a pianist or a dancer – that is, one should not be older than fourteen when beginning. If it were possible, I would suggest starting at an even earlier age with a four year technical course concentrating on practical exercises. At the same time, the pupil ought to receive an adequate humanistic education, aimed not at imparting an ample knowledge of literature, the history of the theatre and so on, but at awakening his sensibility and introducing him to the most stimulating phenomena in world culture.

The actor’s secondary education should then be completed by four years’ work as an apprentice actor with a laboratory ensemble during which time he would not only acquire a good deal of acting experience, but would also continue his studies in the fields of literature, painting, philosophy, etc., to a degree necessary in his profession and not in order to be able to shine in snobbish society. On completion of the four years’ practical work in a theatre laboratory, the student actor should be awarded some sort of diploma. Thus, after eight years’ work of this kind, the actor should be comparatively well equipped for what lies ahead. He would not escape the dangers that threaten every actor, but his capacities would be greater and his character more firmly moulded. The ideal solution would be to establish institutes for research which again would be subject to poverty and rigourous authority. The cost of running such an institute would be a half of the amount swallowed up by a state aided provincial theatre. Its staff should be composed of a small group of experts specializing in problems associated with the theatre: e.g. a psycho-analyst and a social anthropologist. [What about a theologian? – Cole.] There should be a troupe of actors from a normal theatre laboratory and a group of pedagogs from a secondary theatre school, plus a small publishing house that would print the practical methodical results which would then be exchanged with other similar centres and sent to interested persons doing research in neighbouring fields. It is absolutely essential that all research of this kind by supervised by one or more theatre critics who, from the outside – rather like the Devil’s Advocate – analyse the theatre’s weaknesses and any alarming elements in the finished performances, basing their judgements on aesthetical principles identical to those of the theatre itself.

Is this something we can, or ought to, do as Christians in the theatre? What would a network of small ensemble theatres made up of spiritually- and artistically-motivated Christian actors/pedagogues/researchers look like?

Would it be a network of Christian “theatre monks”?

Help Wanted: Consecrated Artists for Christ

I am looking for Catholic and other Christian artists (of any type – visual artists, performing artists, musical artists, etc.) who are interested in exploring the idea of an institute of consecrated life dedicated to artistic creation and ministry to artists. This proposed institute would have both a residential community (probably located in either New York City or Los Angeles to start) and the ability for members to live individually. In addition, it would include both vowed members (professing the evangelical counsels of poverty, chastity in celibacy, and obedience) and non-vowed (or alternately-vowed) associate members, who can be either married or single, Catholic or non-Catholic Christian.

Visit the links on this post for more information about the vision of the institute. Fill out the contact form below if you would like more information, including a more recent draft document describing the proposed charism of and rationale for the institute.

I look forward to hearing from you. Prayers for discernment appreciated.

St John Paul the Great and St Genesius, pray for us.

Yours in Christ,

Cole

Consecrated Life and the Artistic Vocation

Last academic year, I was a member of a vocations discernment program here in the U.K. (Compass, which I highly recommend.) Three of us Catholic young adults interested in religious life met with two group leaders from apostolic religious congregations (a Missionaries of the Sacred Heart priest and Faithful Companions of Jesus sister) one weekend a month for nine months, to learn more about religious life. This year-long discernment solidified my sense of call to the vows of poverty, chastity and obedience.

In addition, I have also continued to discern how my sense of calling to an artistic and academic vocation fits into my sense of calling to the consecrated life. You may have noticed that the theme of a community that blends religious life with the practice of theatre has been a common thread on this blog:

Towards a Christian Theatre Tribe

Offending the Audience

Theatre Company Brain Dump

More on a Christian Theatre

What Should a Professional Christian Theatre Look Like?

On a Benedictine Theatre Company

Thoughts on a Religious Theatre Community

New Ways of Making Theatre

And on my PhD program’s blog Transpositions:

Towards a Eucharistic Theatre

Thoughts on Consecrated Life for Artists

Image
Pelican altarpiece by Fr Marko Rupnik SJ, Chapel of the Holy Spirit, Sacred Heart University, Fairfield, CT, USA

I am ready to explore the next phase of how these two vocations – the vocation to the consecrated life and the vocation to art-making – go together. Stay tuned.

Towards a Eucharistic Theatre

My proposed dissertation title is ‘Towards a Eucharistic Theatre: Communion and the Moral Responsibility of the Theatre Artist’. I explain the phrase ‘Eucharistic theatre’ in my recent post at Transpositions.

(Posted from the family ranch in Gove, KS – I went on my first cattle round-up today!)

To Share the Fruits of Contemplation

I recently listened to a wonderful 25-minute podcast on In Otherhood, a blog which explores secular, interfaith, and art monasticisms. It is written by Nathan Rosquist, one of the artmonks of the Art Monastery in Italy, who is starting his own Art Monastery in San Francisco. The podcast was an interview with Christine Valters Paintner, Abbess of the Abbey of the Arts, an online community of artists interested in living and creating contemplatively. She herself is a Benedictine oblate, and recently wrote a book called The Artist’s Rule: Nurturing Your Creative Soul with Monastic Wisdom. I recommend checking out both Nathan‘s and Christine‘s websites, if you’re interested in art and monasticism. (And if you’re within travelling distance of St Andrews, Scotland, and interested in joining a monthly discussion group about art and monasticism, please contact me.)

As a response to that podcast, I thought I would share with you some of the fruits of my recent contemplation. A few months ago, I went on a silent retreat at an Ignatian retreat centre in England, shortly after having finished my BA module on Christian Spirituality at Oxford. One of the mottoes of the Dominican Order is Contemplare et Contemplata aliis Tradere – ‘to contemplate and to share with others the fruits of contemplation’. In that spirit, here are two of the fruits of my Ignatian contemplation, which I share with you as I listen to Maurice Duruflé’s ‘Ubi Caritas‘, one of the most beautiful choral pieces I have ever heard.

***

‘For John of the Cross’

Lord, let me love You
with the flame of ten thousand fires.

Let me love You
with a flame that dries and crackles,

burns and blackens the crust of my soul,
hides deep down in the heart of things,

to warm and beat,
flickering forth with tongues of fire

to burst through the shell of my cindered soul,
and leap to dance as love again.

Lord, make me all flame.

***

‘For Lady Julian’

Lord, teach me to love my weaknesses
as Lady Julian loved hers,
seeing that the soiled, torn stain of our sins
blackening the white cloth of our humanity
was such a little nothing
because that cloth was worn by Christ,
who picked us up out of the Pit
and sat us next to Him at table,
with His Father and His Spirit,
all of us dazzling white,
with the wounds we ripped into our flesh
shining scars praising God’s glory,
His merciful meaning: ‘Love’.

Theatre R&D Research Tour Itinerary (+ ArtMonks)

You all have been very helpful in suggesting places and people for me to visit as part of my Theatre R&D Research Tour. My current rough itinerary is below. Please let me know if you are on the route and would like to meet (or know someone I should meet), or if I should adjust my route to meet you!

Aug 14: Depart Chicago to NYC

Aug 15: Arrive NYC

Aug 16: NYC – Mtg w/ Fr Jim Martin SJ of the LAByrinth Theater Company; 7pm: Jerusalem [I HAVE AN EXTRA TICKET – TAKEN!]

Aug 17: NYC – 8pm: War Horse with friend

Aug 18-19: NYC – Mtg w/ Keith Bunin (playwright, including my favourite play The World Over at Playwrights Horizons), Fr Bill Cain SJ (playwright, most recently Equivocation at Manhattan Theatre Club), Steven and/or Chris Cragin Day of Firebone Theatre, Fr George Drance SJ of Magis Theatre (& Jesuit Artist-in-Residence at Fordham), George Hunka of theatre minima, & Rob Weinert-Kendt of American Theatre magazine

Aug 20: NYC to Toronto

Aug 21-22: Toronto & Kitchener, Ontario: Mtg w/ John Franklin of Imago magazine & Alan Sapp and/or Kathleen Sheehy of Lost & Found Theatre

Aug 23: Toronto to Boston

Aug 24-25: Boston: Mtg w/ Fr Robert VerEecke SJ (Jesuit Artist-in-Residence at Boston College)

Aug 25-26: Boston to Chapel Hill, NC (via Baltimore)

Aug 27-28: Chapel Hill: Friend’s wedding

Aug 29: Chapel Hill to Asheville, NC

Aug 30: Asheville: Mtg w/ Scott Walters of CRADLEarts

Aug 31: Asheville to D.C.

Sept 1: D.C.: Mtg w/ Fr Peter John Cameron OP (playwright & founder of Blackfriars Repertory Theatre) & Fr Rick Curry SJ (founder of the National Theatre Workshop of the Handicapped)

Sept 2-4: D.C. to Gove, KS

Sept 4-5: Gove: Visiting 91-year-old grandfather at family farm

Sept 6-15: I’m not quite sure yet how I’m going to do this, but here are the spots I planned to visit during this time:

Austin, TX: Mtg w/ Travis Bedard of Cambiare Productions

Irvine & Los Angeles: Mtg w/ actors of Cornerstone Theater Company, actor Chad Glazener & friends, Fr Radmar Jao SJ (actor), Peter Senkbeil (professor of theatre, Concordia University; doctoral dissertation title: “Faith in Theatre: Professional Theatres Run by Christians in the United States and Canada and Their Strategies for Faith-Art Integration”), & Gabriel Voss (actor)

Vancouver: Mtg w/ Cheimanus Theatre Festival, Lois Dawson (stage manager), Ron Reed of Pacific Theatre

Chicago: Mtg w/ Dan Roche of the Bird & Baby Theatre Company, & returning my car to my sister.

Now I can’t drive and visit all of these places within the time allowed. I previously had an extended itinerary that went until almost the end of September, but I recently learned that I have to be at St Andrews by Sept 17 for orientation. So, I’ll either have to skip one or more of these stops and pick them up next time, or put in some flight time (if I can find some inexpensive deals on small budget airlines).

This itinerary is still rough; the only dates set in stone are the ones whose explanatory text is bolded. I’m still working on setting up dates with some of the above people. There are also some people I’m hoping to meet whom I haven’t yet contacted.

May I ask for your help in two areas?

1) Trip logistics: I’ll be making most, if not all, of the trip in my trusty little Toyota hatchback. Gas is expensive. If you could make a donation toward the cost of the trip by using the PayPal donation button on the right, I would appreciate it. Also, if I’m going to be in or passing through your area, and you’re willing to let me crash on your couch for the night, I would appreciate that, too. And hey, if you’d like to donate a plane ticket to one of the major metropolitan areas on the trip (especially one of the three I’ll have trouble visiting – Austin, Los Angeles, and Vancouver), you’d have my undying gratitude! Everyone who helps out in any way will receive a copy of the report I plan to compile about the trip, as well as an invitation to crash on my own couch at St Andrews. Which brings me to…

2) Interview questions: Most of these meetings are going to be somewhere between a casual chat and a formal interview. I have my own list of questions which I’ll be compiling, but if there is anything you’d like me to ask these folks, here’s your chance. Leave questions in the comments, or e-mail them to me. I’m speaking with three rough groupings of folks: members of religious orders involved in professional theatre, professional theatres informed by a Christian vision, and secular professional theatres which excel at building community. My plan is to record and compile these interviews into a single document covering the entire trip, which I will make available for free on this blog (and will send individual copies of to donors and interview subjects, including hard copies upon request).

Thanks for all your help and support, and thanks especially to the people who have agreed to meet with me during this trip. I’m looking forward to it!

***

On a slightly-related note, I spoke with Liz Maxwell and Betsy McCall of the Art Monastery this week, to discuss setting up a chapter of ArtMonks at St Andrews. If you’re going to be within travelling distance of St Andrews over the next year and are interested in a monthly discussion group about art and monasticism, please contact me. If there’s enough interest, I plan to set up a preliminary meeting in September or October, to discuss the form the  group and its activities should take, including whether or not it should be an official ArtMonk chapter, an independent but allied organization, or something else altogether.

Theatre R&D – The Research Tour

I’ve been reading Chris Guillebeau’s blog The Art of Non-Conformity recently (added to blogroll), and this post struck me. In it, Chris relates a piece of advice that marketing guru Seth Godin gave him: “I think you need more of an agenda.”

Chris started thinking about his blog’s agenda, and I’ve been thinking about mine. I’ve also been thinking about where I go once I leave Oxford, which will probably be the case at the end of July. (I finish my final exams in June, and am sticking around for the C.S. Lewis Foundation’s triennial conference, the C.S. Lewis Summer Institute at Oxbridge, Jul. 26 – Aug. 3. I’ll be presenting on “C.S. Lewis on the Moral Responsibility of the Christian Artist” as part of the Academic Roundtable. Go here for more information or to register.)

I don’t yet know where I’ll be this coming autumn. It could be St Andrews, Duke, Kings College London, or Oxford. Or, if I’m not accepted into any of those programs in the first round, it could be almost anywhere else.

Wherever I am, I feel the time is right to start taking steps towards the religious theatre community I wrote about a year ago. Now, I’ve decided to approach the religious life and theatre aspects separately, partly because I’m still allowing my recent conversion to Catholicism to settle into a deeper regular practice before I start making any moves toward vocation, but also because I think they will have to operate as two separate entities, even if they end up being linked later. In any case, I’ve spent a year-and-a-half in a theatrical fallow period, since I’ve been focusing on my studies and writing at Oxford, and I’m rarin’ to go again.

Another blog post that has stuck in my head recently is from Scott Walters, on “The Need for Theatre R&D”. Scott’s vision of a theatre company living communally, and rooted in its community, has inspired much of my thought on the kind of company I would like to start. This new post, emphasizing the importance of theatre makers sharing the results of their experiments with the wider field, verbalized another goal of mine, the artist-scholar model, in which company members not only exercise their craft, but also contribute to the intellectual discourse of their field. (That’s why my ideal space has a comfortable – and comfortably large – library!)

To that end, I’m going to be undertaking a research tour of the U.S. and Canada this August-September. There are two kinds of theatre makers (both individual artists and companies) whom I would like to meet:

1)      Christians working in secular theatre. I am especially interested in companies run by Christians, or with a Christian background/mission, that produce work aimed at general audiences, as opposed to church drama ministries, companies that serve primarily church audiences, or groups that function primarily as mission teams. These types of work are valuable, but they’re not what I feel called to do. I’m looking for companies that produce shows alongside the rest of the theatres in their area, but are informed by Christian faith. (Basically the theatrical equivalent of the Inklings.) I’m especially interested in members of religious orders who are using theatre.

2)      Theatres which have especially close bonds with their local community. In keeping with the principles of Scott’s vision, as well as the guiding principle of hospitality that informs my vision of a Benedictine theatre company, I’m looking for theatres which are rooted in their local communities, instead of focused solely on the needs and desires of the artists. Which professional/semi-professional theatres do you know that epitomize neighbourliness and community?

My goal is to study the practices of these groups, in order to glean and share information, examples, and inspiration that will serve our wider community (as well as guiding the development of my own company).

Tell me where to drive this summer!

Benedictine Theatre Company: Arising & Running

I’m here at the Wade Center at Wheaton College doing research for my thesis on “C.S. Lewis on the Moral Responsibility of the Christian Artist,” supervised by Dr Michael Ward, author of Planet Narnia and Acting Chaplain of St Peter’s College, Oxford. I’ve finished my primary research, which included reading all C.S. Lewis’ work that has been published in book form, including his collections of essays, poetry, letters, and diary. I’m now working on the secondary reading, and should have that done by the end of the week, which will finish up my research, except for a few bits and bobs that I can access elsewhere. I drive to D.C. this weekend to do ADR for The Fellows Hip: Rise of the Gamers, and then a one-day shoot of an educational video that I just booked, for a guy I worked with a couple summers ago. So I will make a (little) money acting this summer, not just spend it on research trips! (I have some good news about The Fellows Hip, too, but that will have to wait until I’m given the go-ahead.)

And now for a continuation of our series on a Benedictine theatre company:

Prologue – Day 2

Let us arise, then, at last,
for the Scripture stirs us up, saying,
“Now is the hour for us to rise from sleep” (Rom. 13:11).
Let us open our eyes to the deifying light,
let us hear with attentive ears
the warning which the divine voice cries daily to us,
“Today if you hear His voice,
harden not your hearts” (Ps. 94[95]:8).
And again,
“Whoever has ears to hear,
hear what the Spirit says to the churches” (Matt. 11-15; Apoc. 2:7).
And what does He say?
“Come, My children, listen to Me;
I will teach you the fear of the Lord” (Ps. 33[34]:12).
“Run while you have the light of life,
lest the darkness of death overtake you” (John 12:35).

***

The Rule of St Benedict is meant to be read daily to the monks, and therefore there is a section assigned for each day, such that the entire Rule is read three times in a year. The Prologue is accordingly divided up into several sections. Today’s section is the second of the Prologue, for Jan 2 / May 3 / Sept 2.

It doesn’t give us much meat for our purpose, but is rather a call for the hearer to take notice, and begin the task of following God. We are back at the beginning of the Rule – a time for fresh starts, no matter how inert or unsuccessful we have been in the past.

This call to action reminds me of a blog post I read recently, on a “post-evangelical” Christian blog called the Internet Monk. In this blog post, blogger Jeff Dunn outlines a calling he has to start an artists’ “retreat/school/monastery,” a place where Christian artists can come “not to work on their art, but on their spirit,” as he said to me when I spoke to him via phone this past Saturday. Jeff and I both agree that Christian artists don’t have to make art that is explicitly Christian – that art is not merely an evangelism tool, but is in itself a way to glorify God. As he says in his post:

I love to help set artists free from the little Christian art box we like to put them in. You know—if you are a Christian painter, then you can only paint pictures of a pasty-white Jesus knocking on someone’s door, or of cottages in gardens with unusual light coming from their windows. If you are a Christian songwriter, you have to write plastic lyrics that portray Jesus as your girlfriend. And if you are a Christian novelist, you have to create fake characters acting in unrealistic ways in an unreal world. None of this brings glory to the Lord. It is simply an attempt to make money from people who need to feel good about themselves.

What’s different about Jeff is that he is right now starting his artists’ monastery. He’s got a plot of land lined up in Ohio, ready for purchase and renovation. You can find more info at his follow-up post.

I’ve let Jeff know that I’d like to help in whatever way possible. Right now that way is prayer. So if you all would please keep Jeff and this artists’ monastery in prayer, we would appreciate it. (And if you’d like to help, especially with funding, why not contact him?)

This past week I also met with Dan Roche, a professional actor/director who’s unusual in that he left Syracuse’s BFA program to study theatre at Wheaton, a college without even a theatre major, but with a close-knit theatre community and an opportunity to do plays more meaningful than the postmodern cynicism subtly or not-so-subtly encouraged at many of our professional undergraduate training programs. After starting Stone Table Theatre Company, which came out of a drama ministry started at his church, he worked in the Nylachi market for several years, before returning to Wheaton. He basically picked up where he left off, and recently started the Bird and Baby Theatre Company, which has as part of its mission the mandate to produce at least one play a season by or about one of the Inklings or related authors (C.S. Lewis, Dorothy Sayers, J.R.R. Tolkien, G.K. Chesterton, etc.). (You’ll see that I’ve added Bird & Baby to the list of links on the right-hand side of the page.) Their most recent production was a stage version of Tolkien’s The Hobbit.

Jeff and Dan have risen from sleep and started to run. I know of other folks, like the Pacific Theatre in Vancouver and Cambiare Productions in Austin. Who else do you know that’s running? I’m thinking of doing a tour in the future of theatres that either have a Christian mandate, or are run by Christians, to talk about their approach to creating theatre for general audiences. Who should I visit?

Part 1 of this series can be found here.