fellowship for performing arts the great divorce

However, through a number of scenes of witty and, more often, dramatic and compelling dialogues with heavenly beings or “spirits,” and some soliloquies, these same people reveal deep and troubling problems, some petty, some sinful, which keep them from letting go of their egos and embracing the promised land of love and peace. These “ghosts” are rather pedestrian folks, mildly irritating and irascible.

The reader or theater-goer must suspend disbelief, of course, as the story opens with various “ghosts” on a bus from a fairly mild version of hell, one more of loneliness than hellfire (Catholics might perceive it as Purgatory), to another land, not quite Paradise, but a staging area for entry into heaven. This latter work attempted to reconcile heaven and hell in a manner, to put it charitably, that was highly unorthodox, conceiving of them as part of a cosmic unity, or something, in which good and evil are reconciled. The Great Divorce is based on Lewis’s book of the same name published in 1946 which, as Lewis alludes to in his preface, is a response to William Blake’s Romantic, and revolutionary, The Marriage of Heaven and Hell, composed between 17. “Our challenge was to turn a complex theological fantasy into an accessible stage adaptation that entertains and provokes lively discussion,” said FPA founder and Artistic Director Max McLean. It was a great production, imaginatively staged, but now eclipsed by its recent, outstanding rendition of Lewis’s The Great Divorce. Lewis’s classic The Screwtape Letters here in Washington. A few years ago good friends of ours introduced us to the New York-based Fellowship for Performing Arts ( FPA ), which performed C.

Fellowship for performing arts the great divorce