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Max McLean is an actor and narrator in New York City. In addition to being the voice behind The Listener’s Bible, Max is the founder and producing artistic director of Fellowship for the Performing Arts, whose mission is to produce theatre from a Christian worldview that engages a diverse audience. Currently, FPA has theatrical adaptations of C. S. Lewis’s The Screwtape Letters and The Great Divorce on national tour.

Why did you choose to adapt and produce The Great Divorce?

The Great Divorce (TGD) came up because of my love for Lewis and how well people responded to our adaptation of The Screwtape Letters (TSL). Both theatrical adaptations are theological fantasies driven by a thoroughly Christian worldview. In TSL, the perspective is that of a high-ranking demon. The play focuses on the dark powers that encourage us to follow our natural selfish instincts, which produce “bad fruit.” TGD looks at the heavenly realm to consider how these spirits interact with our consciences, encouraging us to produce “good fruit.”

How has your experience in adapting TGD differed from your experience in adapting TSL?

Given the irony, cynicism, and morally inverted universe of Screwtape, TSL was easier to adapt. It’s probably the best example of reverse psychology in literature. TGD, on the other hand, is more earnest and confronts a real challenge for us—that is, whether we will embrace our  “present moment” denial of self and the afflictions that follow in anticipation of a far surpassing glory (2 Corinthians 4:16). Our adaption of TGD looks at courage and virtue behind daily either-or choices in a way that is rarely seen in theatre.

When adapting a piece of literature to the stage, what are the opportunities and challenges?

As adaptors, our first task is to find “the narrative through line” that can be translated to action on stage. In TSL, the narrative through line is a hunt story, where Screwtape is the predator and the patient is the prey. Screwtape’s unseen enemy, God, is the real protagonist of the play. In TGD, the narrative is a journey of discovery. Our disoriented narrator begins in the “grey town,” which is filled with souls who want their own way. He then goes on an excursion to the outskirts of heaven, where the world is stunning and the people are caring. In this world, his selfishness is exposed. By the end of the play, he realizes he is sick. But will he listen to the doctor?

If the best actor to audition for a role did not hold a Christian worldview, would you hire him or her?

Yes. When we audition actors, we don’t ask faith questions. We received 600 résumés when we advertised for the role of Screwtape. Our casting director whittled that number down to 150 actors she auditioned personally. Of those, she asked me to see 18. From that final group we selected our current Screwtape. His experience, talent, look, sense of the material, and the ability to command the stage made him the right choice. At this point, he does not share my Christian commitment. He calls himself an agnostic. Since taking the role, he’s been reading Lewis. He’s been to my church. We’ve had conversations. He knows people are praying for him. I think his stereotypical view of Christianity is changing. He is more aware of Christianity’s appeal. And I pray that this is only the beginning. But the objective was to hire the best actor for the job. And we did. Audiences love his performances.

Why do you think it’s important for Christians to be involved in the arts?

It’s not enough for Christians to be culture-critics; we must also be culture-makers. I want to express the Christian worldview through the arts. I’d like to see The New York Times Critics’ Picks include one or two viable options from the Christian worldview so it is part of the cultural conversation. As Christians, we are fed on his Word, by his presence, and through his Spirit. These things influence our contributions in the cultural marketplace, as we create art that’s appealing and multi-layered and that gives the culture a truer picture of our faith.

Is there enough evidence for us to believe the Gospels?

In an age of faith deconstruction and skepticism about the Bible’s authority, it’s common to hear claims that the Gospels are unreliable propaganda. And if the Gospels are shown to be historically unreliable, the whole foundation of Christianity begins to crumble.
But the Gospels are historically reliable. And the evidence for this is vast.
To learn about the evidence for the historical reliability of the four Gospels, click below to access a FREE eBook of Can We Trust the Gospels? written by New Testament scholar Peter J. Williams.

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