A Helluva Dilemma By Tom Wachunas “I don't like to commit myself about heavenand hell - you see, I have friends in both places.” - Mark Twain “Hell is empty and all the devils are here…”- William Shakespeare “The safest road to hell is the gradual one- the gentle slope, soft underfoot, without sudden turnings, withoutmilestones, without signposts.” - C.S. Lewis “For Christians, this present life is theclosest they will come to Hell. For unbelievers, it is the closest they willcome to Heaven.”― Randy Alcorn Whether you call itanecdotal or apocryphal in nature, there’s enough evidence for the veracity ofa journalist’s 1940s encounter with comic and movie actor W.C Fields – a man certainlynot known to be religious, but rather famous for his lascivious pursuit ofmistresses and booze. Fields was seen anxiously perusing a Bible in the waningdays of his life. When asked why, Fields replied simply that he was “lookingfor loopholes.” For many folks, the thought of an eternity spent burning in Hellis no laughing matter. So maybe Fields’ guilt-riddled conscience was promptinghim to seek a back door entry to Heaven, or an emergency fire exit, so tospeak. Christian doctrine tells us that Hell is theultimate, very real and eternal destination for the unsaved. God’s fieryjudgement on unrepentant sinners. LucasHnath’s play, The Christians, is acogent and captivating look at whathappens in a modern-day evangelical megachurch when that belief is seriouslychallenged. Here then is the story of a painful schism caused by a pastor’sventuring to the outer edges of ecclesiastical possibility. He proposes that Hell,as the Church had always understood it to be, does not in fact exist. For this, the final installment of the summerseries by Seat of the Pants Productions, Director Craig Joseph went toconsiderable lengths in finding an actual church that would agree to stage theplay – specifically, the spacious fellowship hall in downtown Canton’s ChristPresbyterian Church. It was a brilliant decision, right down to treating theaudience as congregants gathered for a worship service, complete with live band(Steve Miller on piano, Scott Thomas on drums, and vocals by Lisa Kaye Pyles)playing contemporary praise tunes, a projection screen posting churchannouncements and song lyrics, and prayer time. And of course, there’s asermon, but one like no other ever delivered to this faithful congregation. Scott Stachiw delivers a genuinely charismaticportrait of Pastor Paul. But his gently measured, soothing manner belies thedisturbing nature of the radical new teaching he’s laying out for his ministry.He explains how his rationale was born while sitting on the toilet and having aconversation with God. It’s an unorthodox burning bush encounter if ever therewas one. As the Pastor describes his divine revelation, Andy Simmons, playingthe fervent young Associate Pastor Joshua, squirms quietly in his chair as he’sclearly having a tough time digesting the implications. At one point hepassionately presents his objections, quoting supportive Scripture, only to bemet by the Pastor’s equally passionate counter-arguments. And so begins the fallout, slowly at first,but with ever-increasing momentum as members of the congregation becomesirrevocably divided, taking their financial support with them – a pragmaticconcern sensitively voiced by Tom Stephan playing one of the church Elders. Meanwhile, JulieConnair, playing a concerned congregant, is remarkably poignant as she pleads fora deeper understanding of her Pastor’s intentions, meanings, and motivations.She finds neither clarity nor lasting comfort in his answers to her urgentquestions. Similarly moving in emotional resonance is Meg Hopp as the Pastor’swife, feeling blindsided by her husband’s decisions, which he seemsincreasingly unable to defend with any certainty. Questioning the veryintegrity of their marital relationship, she sadly observes how difficult it isto discern between God’s will and our own wishful thinking. An especiallyfascinating narrative device here is the ever-present hand-held microphone,used by not only the Pastor as he addresses his flock at the beginning of theplay, but by all of the characters as they speak their lines throughout most ofthe proceedings. It’s as if the sermon itself is more than just the Pastor’sprepared script, but in fact an amplified continuation of a living sermon – theongoing thoughts and responses of the entire congregation of...us. Navigating throughperceived loopholes of Biblical interpretation can become a precarious plungedown the proverbial rabbit hole. That said, Lucas Hnath’s writing doesn’t succumbto preachy histrionics, melodramatic propaganda, or obtuse Christianapologetics. What we get instead is the uncanny sensation that these actorsaren’t really acting so much as offering an unabashedly honest look at the complexreality of ideological impasses. Their sincerity is so palpable and disarmingthat we become not merely passive witnesses to a church’s plight, but engaged,sympathetic neighbors sharing the innermost spiritual struggles of a onceharmonious community. Church as microcosm of our turbulent times? For all of theinterpersonal Stürm und Drang thattranspires during The Christians, thecharacters never stoop to the murderous rancor so prevalent in today’s societalconflicts. What still reigns clearly enough in this story is a spirit that’s inwoefully short supply amidst those conflicts, and that would be…love. The Christians, a Seat of the PantsProduction, directed by Craig Joseph, at Christ Presbyterian Church, 530Tuscarawas Street W., in downtown Canton, Ohio / Performances at 8 p.m. on Aug.25 & 26, 2 p.m. on Aug. 27 / Tickets $20 at www.christianscanton.evenbrite.com For othercommentaries by Tom Wachunas on the performing and visual arts in the greaterCanton area, please visit his blog, ARTWACH, at www.artwach.blogspot.com