Biblical Retellings in a Secular World

Dr. Henry Bial (2015) acknowledges that dramatic adaptations of the bible have been a standard means of delivering the Word of the bible to the masses from as early as medieval times. He points to scholars who argue that in the United States, biblical dramas have been used to “reimagine their ethnic, religious, and national identities in relation to an imagined European past”. Bial, however, does explore how more secular theater artists use religious texts, in the case, the Bible, in the more modern commercial theatre space. From 1899 until the beginning of World War II, there was roughly one bible story per year brought to Broadway. However, after the war, they begin to decline. While there have been over 120 theatrical productions of biblical plays (Bial, 2015), two very important and notable musicals to examine are Jesus Christ Superstar and Godspell. Despite changing social attitudes toward religion partly accounting for the rise and fall of certain biblical dramas, both musicals were massive successes out of the 1970s that contained stylistic choices that aligned with the aesthetic of the time, however affected audiences differently. Since historically, biblical dramas were meant to spread the Word to the masses and to help relate to a Eurocentric imagining of Christ, it leaves the question of whether these musicals were an attempt at a religious experience or a theatrical one?

Despite this extensive history, there is a noticeable lack of academic literature on the relationship between religion and theatre. Some critics question if this silence is purposeful (Lofton, 2022). In modern day America, the theatre is seen as a secular space. Henry Bial (2015) states:

“Probably few very devout persons ever go to the theater. In part this is because American theater—­ especially in urban areas—­ enjoyed its largest growth during a period of maximum integration and so became co-­ opted (or positioned itself) as a vehicle for intercultural encounter and “melting pot” assimilation. [...] Even as the industry sees itself as secular (positive), many faith-­ based communities see the theater as profane, a site of sin and iniquity. This is partly due to business practices (most urban theaters were open on the Sabbath), partly due to a perception about who participated in the theater (Jews, homosexuals, women of questionable virtue), and partly due to ontological objections (the display of the body, the frivolousness of subject matter). Hence there is a long antitheatrical tradition among U.S. religions.”

References:

Bial, H. (2015). Playing God: The Bible on the Broadway Stage. University of Michigan Press.

Lofton, K. (2022). Pausing on a Sunday: Sondheim and the Composition of the Secular in the American Musical. Modern Drama 65(3), 355-380. https://muse.jhu.edu/article/868346.