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Drama is all about us. Human history is the great drama of God, carried out on a planet-size stage. Each of us is a player, composing our part of the script as we go, listening and looking to the "author and finisher" for his direction.

Think of the Bible as drama -- real life drama. See creation unfolding. Marvel at the ten plagues and the parting of the Red Sea. Tremble with Moses upon the sacred mountain. Thrill to the fall of Jericho's walls. Grasp your chair as young David slays the great Goliath, as Saul stalks innocent David, as Absalom's coup ends in death. Hold your breath when Elijah calls down fire on Carmel's soaking wet altar. Sit in rapt awe as angels fill Bethlehem's night sky, and Magi stride across the desert, eyes fixed on a star. Wonder how a few loaves and fishes became food for over 5,000. Hush with the waves when you hear, "Peace! Be still!" Remove your shoes at Gethsemane. Weep at Calvary. Wonder at the rending of the temple veil. Stand tip toe on Resurrection Mountain. The Bible IS drama! The Bible is made for drama.

In this little book you will find fifteen simple, short Bible plays you can produce with few props. They will slip easily into a worship service, a Bible study class, or a retreat setting. Each is based on a Bible story and is designed to bring that story to life in a way that causes listeners to identify and respond.

Expect a mix of Bible facts and reasoned conjecture -- not a retelling of the story, but an enlarging of the story, perhaps from a slightly different perspective than you might have considered. Following each dialogue, look for some issues defined and thoughtful questions suggested. The intent is to help the worship or study leader build the drama into a total experience which might include a sermon or group discussion with Bible searching.


Appropriate Forms Of Drama

Drama can happen in several effective ways. The stories in these pages may be easily adapted. Consider these possibilities.

Dramatic Productions: In this traditional form, actors are enlisted (well in advance) to memorize parts. Props are collected, costumes secured, and rehearsals held. In due time, the play is performed before an audience as perfectly as possible. Used in this way it can introduce a scripture passage or a sermon and will certainly add joy, depth, and sparkle to worship.

Script Readings or a Readers' Theater: For informal settings, actors are enlisted to read, but do not memorize parts. Costumes and props are optional. Readers may stand in a row, backs to the audience, and turn to face them as their characters enter the drama to read. Or, readers may sit on tall stools before the audience (and even hold masks before their faces) as they read. Again, they may "walk through" the action as they read. The script is never perfected -- it is read for content value only. It may be performed without rehearsal, or after one or two walk-throughs. Discussion could easily follow.

Pantomimes: Players act to a script which has been pre-recorded. The advantage of this form is that actors do not have to memorize their parts word-for-word. Rehearsals are still required so that taped voices sound professional, with proper emphasis and expression. Actors, then, need to practice fitting their actions to the recorded script with convincing timing as the story is played. Full costuming and props are usual.

Tableaux: Similar to the pantomime, in that actors do not actually memorize parts. But different because the action is limited to one or two "frozen" scenes. Actors pose a significant scene or scenes in full costume and with props. (Bible story books and teaching pictures sometimes offer good ideas for selecting poses and costuming.) The script is read by a narrator and/or off-stage voices, or played from a prepared recording. Again, both the script reading and the posing must be rehearsed, but the burdens of memorizing and acting are removed.

Role Playing: The plan is to let the audience become involved in solving the problems faced by the actors. A portion of the script is performed or read. At a critical place -- when the ending could go several ways -- the action is stopped by the leader. The audience is asked to decide what the hero of the story should do next. When a few ideas have been suggested, the leader may invite a member of the audience to come up and replace the hero and ad lib the next few lines of the script. The audience can be given opportunity to compliment and evaluate the results.


A second volunteer could try his or her hand at the part with new innovations. Again the unrehearsed lines of the brave volunteer are applauded and discussed. Then the audience resumes listening as the actors complete the drama as written. Comparisons and group discussion follow easily. This form carries some risk and requires a discussion leader with good skills in group dynamics.

Modern Parallel Role Playing: Following the drama production or script reading "walk-through," the audience is asked by their leader to invent a modern situation which parallels the struggle of the Bible person they have just seen. (Example: Parallel Sarah's discussion with Isaac after he returned from almost being offered as a sacrifice on Mount Moriah. Suggest a contemporary parent talking with his youth who wishes to offer himself or herself to God for overseas mission work on a high risk field.) Enlist the needed characters, let the audience determine the setting for the conversation, and help suggest lines. Pick up the action at a critical moment and let the actors ad lib. Invite the audience to applaud and evaluate. A second hero may be allowed to try his hand at the same part, only with a different setting and/or dialogue. Follow with group discussion.

Media Format: When time is not a factor and the group is adventurous, radio and television shows are a fun way to produce drama. The format could be a talk show host interviewing the actors in their costumes. The Bible drama is produced as a flashback, either "live" on a side stage area, or on previously recorded video clips. The follow-up "Questions for Thought" can form a basis from which the talk show host conducts the interview.


Commercials (tongue-in-cheek) suitable to the historical setting add great interest. When produced by a creative group, subcommittees can rehearse the drama, plan and secure costumes and props, be camera crew, write and read commercials, and plan and conduct the interview. Add a Talk Show Host to the list of "Characters Needed."


Usual And Unusual Places For Drama

Worship Services: Increasingly drama is sought to make worship services brighter, and to help attenders identify emotionally and intellectually with Bible episodes. Drama can stand alone -- it is a total experience in its own right. It can introduce or follow the reading of the story from which it is drawn. (Example: Follow the reading of Joseph resisting Potiphar's wife in Genesis 39:7-20 with the drama, "Free In Pharaoh's Jail.") Drama can introduce a sermon. It can be the closing feature, cinching down the theme of the hour. Drama productions, tableaux, and pantomimes can all work well in worship.

Bible Study Groups: Informal settings have the advantage of allowing several more drama forms to be used. In addition to full dramatic presentations, script readings with discussion, video productions and role plays can be effective. Bible study groups are more venturesome, and time is usually less restricted. Sometimes a production can be developed over several group sessions, with work done both in and beyond the study hour. (Note the additional ideas in the section, "Media Format" above.)

Retreat Settings: A really WOW service can happen when Bible drama is prepared for the opening session of a retreat. It can command total attention and unify attenders in a desirable way, especially when the performers are their peers. And for those who work on the production, the anticipation often opens doors for a deep personal renewal to happen.


Again, researching and producing a drama for the final session can give focus and structure to the group Bible study sessions during the retreat time. Conversely, spotlighting an unexpected drama at the closing campfire can make a lifetime memory for all.

"On Location" and Outdoor Theater: An extension of the Bible study group or retreat is the concept of performing the drama in a setting like that of the original story. This can be as simple as taking the story of Sarah and Isaac in "Journey Into Faith" to an outdoor tent, or taking the conversation of John Mark and Rhoda in "Rescue By Angels" to a courtyard or garden. It could be more complicated, as when taking "Conversation at the Rest Stop" (the woman at a Samaritan well) to a roadside park, or taking the dialogue between Phoebe and Priscilla ("Trusted Friend") to someone's living room. Most Bible stories happened away from anything that resembles a church, and can be re-created with a little extra work and imagination in a parallel setting somewhere nearby.


The People And The Stuff Of Drama

Cultivating Actors: Not everyone wants to act, even in simple drama. But many do, and others will if they know sufficient help will be given them. Look to the obvious, but look beyond and cultivate new people for this kind of creative activity.


Often a church has some history of past performances. Begin with those who have had some experience and success. Look also for any who performed in school plays, or at other churches, or in summer stock. These people can become the nucleus for an on-going drama troop or club out of which many good things can happen.


Issuing an open invitation to any who are interested in an upcoming production may seem risky, but it is actually a very good idea. Hidden talent comes to light -- and may be a gift from the Lord to bless your church's drama ministry. Some who come may not have much acting ability, but they can be valuable in making costumes and props, acting as prompters, or handling lights and set changes. Some might make publicity banners or telephone actors to remind them of rehearsals. Everyone can help in some way and will be enriched by the experience.


Many who volunteer or agree to help will want, above all, to have an experience that draws them nearer the Lord. They will hope to find this nearness through recreating Bible events in which God interacted with chosen people in usual or unusual ways. Some of that feeling of God's presence can come about as the drama team talks about the Bible passage they are illustrating, and as they share needs and pray together during rehearsals and workshop sessions. The relationships built between actors, support crew, and director can be a vital factor in persons having a satisfying experience.


Success breeds desire to try again. The director should make it his or her goal to see that every person involved has a positive experience so he or she will want to continue in future drama events. Enriching the lives of the players is a more worthy goal than having a flawless production.


Building a Costume Closet: Since this is a book about Bible drama, costumes from biblical times will be the staple of the collection. At the front end of a drama ministry only two or three costumes are needed. If players feel successful, and if the church family responds favorably, a larger drama ministry may begin to develop. Then it is time to begin building a collection in some secure corner or closet at the church.


Enlist persons to make costumes for the church, rather than for their personal use only. In time you will want to have a dozen or more common tunics, a few cloaks, a variety of head squares and turbans, shawls, sandals, and sashes. Look at religious art and resource books and children's Bible story books for appropriate fabrics, colors, and fashion.


Bible persons were mostly common folks who wore homespuns in dull hues and muted stripes. Few had colorful, expensive clothing. Wraps were of heavier woven fabrics and animal skins. All these are available from fabric store remnant tables, and even faded bed sheets. Try for an authentic look as opposed to a beautiful look. Only when depicting royal or ruling figures would you want bright colors, tapestries, or braid trims.


Patterns for tunics are available in pattern books at fabric stores. The investment of one or two patterns is wise. Consider enlisting persons who sew to make the costumes for you. Ladies' Sunday school classes and mission circles may be happy to oblige, and will feel they have had part in an exciting ministry. They may even provide money for the fabric as part of their offering. Encourage them to finish facings and seams enough that the garments can be washed occasionally.


Note from the Bible time paintings that men and women wore different kinds of head dresses. Men most often wore prayer shawls, or squares of material secured with turbans of contrasting fabric. On occasion they went bare headed. Women wore long stoles which they wound as both head covering and veil. Only indoors or with other women would they go without head covering, and then it would probably be draped over their shoulders for ready access.


A very useful item is an animal skin. This can be used as a shawl, poncho, rug, or backpack. Most fabric stores carry fake fur. From one yard of fabric something resembling a sheep skin or a wolf pelt can easily be cut. Think of a bear or coyote rug, and cut a similar shape, simulating the flattened head, legs, and tail, and cutting out small eye holes. Eventually you may want several skins in the collection.


Costume footwear is often hard to come by. Sandals are usually preferred, but should look authentic -- probably natural leather color, with flat heels and simple design. (Mexican huaraches would be ideal.) If none are available, they are a costly item to purchase for one short play. Second choice would be bare feet or tan (never white) stockings.


Cloaks are also important in the basic collection. Note from illustrations that some were sleeveless and others had wide sleeves. Large shawls are appropriate wraps for women, but again remember that they wore mostly black, gray, or natural shades, without trim or pattern. Garments generally did not have pockets, but persons carried possessions in pouches or satchels. Avoid bathrobes -- they give the entire set an amateur look. A cloak can easily be adapted from the tunic pattern.


Over time, these basic pieces will mix, match, and layer to make dozens of interesting costumes. As the collection increases it is very helpful to have someone who oversees the costume closet, keeping things mended and clean and carefully stored.


Occasionally you will have unusual costume needs: a Roman centurion or an emperor, for example. These types of costumes may be borrowed or rented from local theater groups or professional costume shops.


Make up is optional in most Bible dramas. Unless an experienced make up person is available, it is best to use the common bases, eye liners, and rouges persons have on hand. Wigs and beards, and the adhesives that attach them, may be needed. These can be purchased at party and costume shops.

Collecting and Storing Props: As with costumes, in the beginning only a few pieces are needed. This book has only simple drama, and very few props are called for. Elaborate sets are not really true to how most Bible folks lived, and are unwieldy on a worship platform or in a study group. Imaginations will take just the suggestion of a set and create reality in the minds of those who watch.


As the ministry grows it is helpful to have a place to stash some commonly needed items. A rough-hewn wooden bench is one such piece. Urns and bowls of pottery and brass and baskets of all sizes have an authentic look. And certainly a manger is necessary.


Eventually you will gather items like a pottery oil lamp, a small wood table or box, walking sticks and staffs, a leather pouch, brass utensils, wooden tools, Magi gifts, and a newborn infant doll. Fabric pieces like small mats and rugs, a twelve-foot length of burlap (for tents) and pieces of homespun (for table covers and assorted other uses) will be appreciated over and over. You will probably fill in sets with items from around the church building, such as large and small plants. Fresh food items like fruits, unsliced bread and rolls, and juice and milk, will be added on the day they are needed.


To assure that the smaller props will be where you expect them to be when they are needed, store them in large containers which are clearly marked as to content and purpose. Ideally there would be a small room or closet dedicated to drama props and costumes.

Lighting Tips: In worship drama this is a consideration. Some churches have built-in spotlights which work from a central control panel. Others may have invested in a portable spotlight with a variety of features. When this kind of professional lighting is available, a person is needed just to man the lights. That person must also be at the final rehearsals, and have a copy of the script to follow.


Effective drama productions can be done with house lights only. If they are on a dimmer, so much the better. If not, perhaps the platform lights can be on and the other house lights off. Lighting is important, but is probably the least necessary feature in short and easy Bible drama such as this.

Providing for Sound: In smaller study groups, working with players so they project their voices to the back of the group is all that is required. When performing in the worship room or other larger area, cordless lapel microphones are the choice. When not available, it is probably better to coach the cast to project their voices. In most situations this will be adequate for an audience of as many of 200 people.


Hand held microphones or microphones on stands tend to hinder action and do not work well in drama. Another alternative would be to make a recording to play through the sound system, as mentioned in the paragraphs on pantomime and tableaux above. (See the section, "Appropriate Forms Of Drama.")


Conducting Rehearsals

The following plan is designed to help the director move a group through a series of rehearsals in order to prepare a drama production in which parts are memorized and action developed. It can be adapted for the other possible drama forms mentioned earlier in the section, "Appropriate Forms Of Drama." Assuming a group only wants to rehearse once a week, plan to begin rehearsals about six weeks before the performance date.

First Rehearsal: Read Through the Script. At the first meeting, have copies of the script for each player and each of the support crew. It helps to print each person's name at the top of the script, and highlight the dialogue for that person, so he or she can easily see what lines belong to him or her. Highlight the sound and lighting cues for the persons who will oversee those aspects.


Gather the group and summarize the story in the script for them. Emphasize the spiritual truths and the impact the script can have on the audience if done well. Lead the group to pray that the drama will minister to those who see and hear it.


Ask the cast to read the script, each taking his assigned part. Expect players to be nervous at this point, and to laugh and joke among themselves. Give some suggestions about emphasis and expression, and affirm generously each person's handling of his or her part. Answer questions about the staging.


Give a printed schedule of coming rehearsal dates and times, and ask the cast and crew to approve it for you. Make adjustments as needed. Advise the cast that they can use the script during the next two rehearsals, but will need to have their parts memorized by the fourth rehearsal. Suggest that they read their parts each evening before going to bed, noting the cues that bring them on each time.


As time allows, have the group read the script another time or two. Ask for prayer requests, both personal and drama-related, and have a time of prayer together. Thank each person for signing on to the project. Remind of the next rehearsal time before you dismiss.

Second Rehearsal: Walk Through the Script. Have any necessary props, such as a bench or table, in place as the group arrives. Provide extra copies of the script for any who have misplaced theirs.


Gather the group and walk through the script as they read their lines. Make suggestions for actions, expressions, and gestures. Include all entrances and exits. Let the group make suggestions to each other. Take care to affirm each person generously. Smile about the nervous interplay and joking.


Talk about needed props and where they might be obtained. If you have a support crew, make assignments for gathering props and making costumes.


Using thoughts and questions from the follow-up portion of the script, lead the cast and crew to share feelings about the story and the persons they are portraying.


As time allows, walk through the drama one or two more times. Close by asking for prayer requests, and having a time of prayer together.

Third Rehearsal: Walk the Drama with Script. Have as many props as possible in place, and improvise where necessary. Remind everyone that this is the last rehearsal when they may have scripts in hand, but assure them someone will prompt next time in case that is needed.


Walk through the drama, making further suggestions for actions, gestures, and expression. Again, let the group help each other, and try out new ideas to see if they strengthen the parts. Find ways to mention each person's good work.


Walk the drama a second time, getting it as nearly perfect as possible.


Have the players sit down "off stage" and say their lines to each other while you meet with those who are doing costumes, props, lighting, and sound. Talk about the technical needs and answer questions. Ask to have all costumes ready to be tried on at the fifth rehearsal. Make notes of loose ends you must attend to before another rehearsal.


Save time to hear each other's prayer requests and pray for each other. Make note of any personal needs that you, as a friend, should follow up in some way. Remind the group about memorizing their parts and offer to help any who are having difficulty.


If publicity is appropriate, provide time, date, title, and other interesting information to the places and persons who will be including it in printed or broadcast format.

Fourth Rehearsal: Rehearse Without Scripts. Again, have props in place as the group arrives. Suggest that players sit down and say their lines to each other as the stage is being made ready.


Go through the play without scripts in hand, including all entrances, exits, and action. Ask one of the support persons to sit near the stage area with a script and act as promptor. Give abundant praise for lines done well and action learned. Encourage the laggers and offer help if memorizing has proved difficult.


Let the cast and crew say what they especially like and appreciate about each person's performance. Continue fine tuning the action and expression.


Close, as is your habit, with a time of prayer.

Fifth Rehearsal: Final Informal Rehearsal. Ask the crew to be placing all props as the cast arrives. Have costumes ready to be tried on for size and effect. Work with the person doing costumes and/or with each player on the correct way to wear the costume, especially the head pieces. Talk about what to wear under the costume so that collars will not show at the neckline, and pants legs and sleeves will not show under the costume. (White T-shirts and walking shorts are usually a good choice.) Place each costume, with all its parts and a bag of accessories, on a hanger, marked with the name of the actor who will wear it. And thank the costume planner profusely for hours of behind-the-scenes labor.


Walk through the entire drama two or three times, perfecting parts and gestures. Affirm the good work of cast and crew and answer any remaining questions.


By this time the group's prayer times should be meaningful, and relationships will have strengthened between participants. Close with prayer together for personal needs and for the effectiveness of the play.


Carefully note any work you need to do before the final rehearsal. Take time to write a personal note to each of the cast and crew this week, assuring them of your prayers and thanking them for the good work they have done.

Sixth Rehearsal: Dress Rehearsal. Meet in the room where costumes will be put on before the drama is presented. Have the crew assist players in putting on costumes so they look as authentic as possible. It may be wise to have private areas (a classroom or restroom) close for those needing privacy. A large mirror is also helpful.


Rehearse with head coverings and footwear in place so actors can know how it will feel to do their parts in full costume.


Be sure all props are in place. Walk through the play with costumes, promptor, sound, and lighting, exactly as it will be presented to the audience. Resist the temptation to interrupt, but make notes on suggestions to offer when the play ends. Encourage the cast members to compliment each other's work. Walk through the play again.


Explain exactly when during the worship service or study time the drama will be presented. Give the cast and crew a specific time and place to be present and in costume on the day the play is produced. Assure cast and crew of the success of the drama and thank them for their good work. Have prayer together while still in costume. Emphasize the message of the play and pray for its effectiveness.


In the costume dressing area, ask players to hang up their costumes, labeled with their names, both now and when the actual drama presentation is over. Thank them for helping keep the costume collection in good condition.


At The Performance

Arrive Early: The director should allow an hour to go over the set and costumes, confer with the technical crew, and help performers don costumes.

Stay Positive and Cheerful: Actors, even in simple drama such as this, usually have butterflies and self doubt. Be reassuring, and listen carefully to their concerns in order to respond with useful affirmations.

Make Use of the Time: If all goes on schedule, actors will be costumed with some time to spare. Pass out scripts, and have the group sit in a circle and read or say the entire play one more time. Pray together for the effectiveness of the performance. If there is a printed program for the occasion, give one to each cast and crew. Answer questions. Continually affirm.

Cue Performers: Back stage is probably the best place for the director. Help actors make their entrances smoothly. Welcome them back after the drama with love and thankfulness.

Oversee Costumes and Props: The investment made in physical properties should be preserved and properly stored. Work with the crew on this. Express thanks to all who are involved.

Follow Up with a Note: Easy, short plays like these seldom merit a cast party, but certainly a personal note of thanks is due each person involved. Perhaps a keepsake of the occasion can be enclosed. Include all support crew in the appreciations.

Continue the Relationships: When two people have worked and performed together, a bond is formed. Cultivate the friendship -- not with an eye to future favors, but because of the value of the person -- now a friend.

Of all the lives touched and changed by drama, the cast and crew will be most affected. And -- perhaps to your surprise, if you are director -- you will be deeply touched as well. It would be hard to walk a while with Bible persons and not learn the lessons they learned, or touch the face of God with them.