Water, Wind and Fire
Click here to go to SCRIPT

A dramatised presentation of the life of
The Lord Jesus Christ.

(First performed in Carlisle, UK. 27th July 1995.
No licence is required for amateur or charity performances
or making necessary copies of script)

In a culture dominated by silver screens, large and small, live drama has an extra powerful impact, especially when the performers are one’s own neighbours, colleagues and friends.

Water Wind & Fire was written so that ordinary Christians can form into a team, present Christ in drama and invite others to see them in action. People of any Faith or none may come to see it, and whatever their response, come away knowing more of Jesus Christ and His message.

The effort we are willing to put into the production, and the unity of the team presenting it, are part of the message. Our friends will see how seriously we take The Lord Jesus Christ.

Originally it was written as a dramatised reading, paraphrased from the four Gospels, with the help of Alfred Edersheim’s background research in “The Life and Times of Jesus the Messiah.” Later it was adapted for simple staging, but remains scrupulously faithful to scripture, and is centred upon Christ. It was first performed in Carlisle in 1995.

GETTING A TEAM TOGETHER.

Do not be deterred by the size of the cast. A few parts require considerable acting skill, but most need only enthusiasm and have been played successfully by volunteers who had no previous acting experience. The production is highly suitable for a joint venture between several churches.

You need a venue, probably a church hall but possibly a school or village hall. A raised stage is optional. Curtains are not needed, stage props are few and no special costumes are required.

Good acoustics or amplification, however, are important. Words must be heard clearly or the event is spoilt.

There are a few moveable stage props: a cross, a screen and a low table. There might also be an earthenware jar or jug, a towel and possibly a purple robe. Sound effects might include the crack of a whip.

Those playing the smaller and voice-only parts can sit on the front row and while seated may have scripts. They then all take part in the crowd scenes, shouting from their seats.

AUTHENTICITY

In a modern dress, modern language performance, there is no suggestion that “This is exactly how it happened.” The audience is expected to use imagination to set the scenery. What is vital, however, is that the play does not actively mislead. A few essentials need to be observed.

We know very little about Christ’s physical appearance, except that He was a manual worker with a strong voice and a commanding presence. He was in His mid thirties and had a healthy outdoor lifestyle. Casting should try to take these factors into account.

Meals were eaten from a low table. Diners reclined on their left elbows and ate with their right hands. Feet were extended away from the table. Just one concession might be made to period dress - namely wearing sandals rather than shoes and possibly slipping them off at the last supper. But this is optional.

There are some popular misconceptions about who was who and the casting must not perpetuate them. Mary Magdalene, Mary of Bethany, the Woman at the well and the woman taken in adultery were four different women. They must be played by different women so as not to promote the fiction that any two of them were the same.

It may prove harder to find two actors to play the Guard and the Centurion. One with the necessary skills can play both - although in fact the Guard was Jewish and the Centurion was Roman.

The question of the number of non-speaking people on stage is for each team to work out. How many disciples follow Jesus about? Should there be several guards and soldiers? Should there be Sanhedrin members at the trial? At the first performance it was found that in limited space, it worked quite well to have only the speaking parts on stage - the audience could imagine the rest.

Crowd scenes do not require a crowd on stage. All the shouting can be done from the front row.

The occasion when Jesus preached, and was nearly lynched, in the Synagogue at Nazareth did not have disciples present. He had briefly disbanded the first group of disciples and re-called them shortly afterwards.

PREPARATION SCHEDULE.

The following is a guide only, but may help with the planning and preparation.

First Phase.
Download, print and photocopy script - or email growandgo@ukonline.co.uk and ask for photocopyable masters to be sent to you by post (do not forget to give your postal address.)

Recruit nucleus team , the major parts and organisers.

Meet to read script; discuss plans, venues etc. and for prayer

Book venues and dates. Discuss with church leaders and those who will be responsible for the events. This includes caretakers.

Schedule rehearsals.

Decide whether this is to be a single performance, a short run or a longer run travelling round varying locations. If the latter, you need understudies, or maybe a doubled-up team with alternative performers so that they can understudy each other.

Second Phase.
Recruit full team and hand out scripts. Hold first full team meeting and visit personally any who cannot be at it. Hold rehearsals, briefing and prayer meetings.

Tutorials - ie one-to-one sessions with cast members going through their parts.

Publicity; to churches and public.

If possible print programmes.

Literature for distribution - see the final lines of the script. The whole cast move forward and hand out suitable booklets, eg one of the Gospels. Invitations to events, courses etc can be included with it.

Prayer.

Follow up

Final Phase.
One or two final rehearsals in the actual venue are important, preferably just before the event. The importance of good relationships all round must be stressed. This is not only among the cast but with all who are affected by the arrangements. Show consideration for those whose routine is disrupted, and appreciation for those who help. Above all, bathe the whole event in prayer.

THE CAST.

Central part - The Lord Jesus Christ.

Prologue parts
Mark, Matthew, Luke, John, Copyist

Major Parts
Narrator, Prophet, Baptist, Peter, Caiaphas, Guard/Centurion, Pilate.

Smaller on-stage parts
Devil, Andrew, Mary, Nicodemus, Pharisee, Samaritan Woman, Rahab,
Bartimaeus, Mary of Bethany, Judas, Temple Treasurer, Mary Magdalene,
Joseph of Arimathea, Thomas

Voices only
MC. Herodias, Salome, Man in Crowd, Woman in Crowd, Woman in Courtyard
Man in Courtyard , Pilate’s Wife, 1st Robber, 2nd Robber

Crowd Scenes may involve all not on stage at time.

NOTES ON PARTS:

THE LORD JESUS CHRIST.
Unless you have someone to play the part of Christ, you will not be planning a production. (For a series of performances you will also need an understudy.)

It is by far the largest part to learn and the whole event depends on its portrayal. The actor should have a personal faith in Christ and a fair knowledge of the Gospels.

THE NARRATOR.
The narrator should sit on stage and when not speaking remain as unobtrusive as possible. When speaking, however, he should stand up and capture attention.

Having the script in front of him he does not have to memorise his lines or make any movements, but needs to be in all rehearsals because he is the one to carry the whole drama along. He may have to fill in gaps and need presence of mind to smooth over mistakes. A clear voice is an absolute essential.

THE PROPHET.
The Prophet speaks the Old Testament Quotes - every one of which is an important punch line.

He needs a strong clear voice. Like the narrator he can have a script and may either sit on stage beside the Narrator, or speak from behind the audience.

In particular he has to carry the crucifixion scene while Christ hangs on the cross and the lights are dimmed. He speaks the paraphrased words of Isaiah 53. (Make sure he has enough light to read this while the lights are dimmed.)

Although he does not need to memorise the lines, he should rehearse them thoroughly and be very confident of delivery.

PROLOGUE PARTS (including APOSTLE JOHN).
Mark, Matthew, Luke, John and a Copyist are brought in at the beginning to show how we know the truth of Christ’s life. They are a response to current propaganda suggesting that the gospels are late and unreliable, selected by church and empire authorities to put over its official viewpoint.

In a sense it is the copyist, despite his small part, who presents the evidence for the reliability of the gospels most forcibly.

Apart from John who appears later in the play as himself, those in the prologue may have later parts. But the prologue is a high priority.

JOHN THE BAPTIST.
The part of the Baptist requires a clear strong voice. He dominates the early scenes, then appears no more - ( so may be asked to play or understudy a later part.) In particular, he speaks the early punch-line from which the play gets its title. Simply dressed (eg a camel coloured sweater).

PETER.
With a large speaking part and presence on stage for much of the time, Peter is a major part. He and Jesus were best friends and conversation between them should be kept light and friendly most of the time.

CAIAPHAS
Caiaphas is the principle villain of the story, smartly dressed, smug and self-righteous. When the crowd is shouting for Jesus to be crucified Caiaphas is signing to them, whipping them up. The scene with the temple treasurer is to provide a break in the tension between trial and crucifixion.

GUARD AND/OR CENTURION
For practical reasons these two parts may be played by the same actor. In fact the guard was Jewish and the Centurion Roman.

These parts, although having few spoken lines, are critically important because the guard/centurion has charge of Jesus throughout the entire time he is under arrest. He has to control the positioning on the stage, mime the arrest, binding and later the crucifixion itself and the giving of the sour wine on a sponge. Finally he helps Joseph and Nicodemus move the screen (it may need three).

Ideally this is a part for a mime artist or actor whose speciality is movement and action.

PILATE
Pontius Pilate was a harsh tyrant and should not be portrayed as a good judge trying to do right - rather he was a proud judge who did not like to be manipulated. As the trial progresses, however, he begins to be impressed with the character of Jesus, having the Roman respect for courage. Once he has committed himself to resisting the prosecution, he does not like to give up.

Those acting the crowd will be in the front row (mainly - a few could be father back). It is intended that people in the audience feel that they are part of the crowd shouting “Crucify Him.”

It is critical that Pilate’s part be rehearsed with the crowd until he and they have a rapport and can respond to each other. Caiaphas is trying to whip up the crowd and Pilate’s plea to it is a high climax.

When at last he gives way, Pilate may be interpreted as beaten and broken, or simply angry.

DEVIL
The part of the Devil may be performed live on stage or alternatively spoken over a microphone; in which case Jesus has to act as if the Devil were creeping up behind Him, with the same swift turn around.

The part of the Devil MUST NOT be performed dressed up in devilish costume. Smart clothes, suit and tie or perhaps black bow tie are acceptable. The person who acts the part should be a mature Christian spiritually prepared for possible opposition.

PHARISEE.
Smartly dressed, probably suit and tie. After several earlier lines the Pharisee remains on stage alongside Caiaphas for the arrest and trial. Joins with Caiaphas in stirring up the crowd to shout “Crucify Him.”

SAMARITAN WOMAN
A drink of water is a small favour in a hot country and there is no suggestion that the woman begrudged it - but she enjoyed having a Jew at a disadvantage and was prepared to tease Him. When He answers enigmatically she is happy to chat, and to go along with His imagery until He suddenly turns the conversation serious by asking for her husband.

She tries to change the subject and He allows her to, but brings her back to the subject of real worship and then declares Himself as Messiah. Her response is excitable.

RAHAB
A very small part but a significant one. The unnamed woman of John 8 is named Rahab for the purposes of this play only. Fiction has confused her at times with Mary Magdalene, Mary of Bethany or the woman who anointed Jesus in Luke 7. She was none of these and only appears once.

Jesus, by ignoring the accusers takes the initiative from them and focusses attention on Himself - it was one of His most brilliant examples of handling opponents.

MARY OF BETHANY (mimed part).
A young woman, probably a teenager, not to be confused with any other character (she was not Mary Magdalene). Anointing was a normal way of honouring a guest, but she used the most expensive ointment she had, and she used it all.

JUDAS.
The importance of Judas to the play is very much greater than one might suppose from the few lines. His slow reluctant withdrawal from the disciples is the last dramatic moment before the interval. It is his panicky rush to Caiaphas which sets the final train of events in motion. When he leads in the guards it is because they are afraid of Jesus and need him to give them confidence. It is a part for one who is good at mime.

THE TEMPLE TREASURER.
While this scene is a genuine attempt to explain what eventually happened to Judas and the 30 pieces of silver, it is actually inset out of its proper time. The reason for this is the need to break the tension between the two climaxes - the trial and the crucifixion.

MARY MAGDALENE.
Because of much fiction and misrepresentation it is important that Mary Magdalene has no other on-stage part. She loves Jesus deeply but not romantically and should be acted like a loving sister. She stands with Him at the cross and watches the burial. When she finds Him alive she rushes to seize Him and He has to help her move on from human affection; gently stopping her from clinging to Him, making it clear He is not staying, and then giving her a task to do for Him.

She also speaks the last line - loud and clear.

(In performances with plenty of stage space, Jesus will have more disciples surrounding Him at various points. In these, Mary Magdalene may be present.)

THOMAS
A small on-stage part near the end, but Thomas may appear among the disciples earlier - unless he has another part or is needed for the crowd scenes.

Other smaller parts are self explanatory.

CROWD SCENES.
In one sense crowd scenes are easy - all not currently on stage are sitting in the front row(s) and may if necessary have scripts on their laps.

But timing is vital and so is enthusiasm. Careful rehearsal is essential. There are four such scenes: The Synagogue at Nazareth, the triumphal entry to Jerusalem, the trial before Pilate and the Finale.

Those sitting in the front row and not playing major parts may also speak the voice-only parts. Again they may have scripts but need to rehearse - and be ready to understudy each other.

MUSIC
In places the script suggests music but this is entirely optional. Remember that although you are free to perform the drama, some items of music have copyright restrictions which you will need to look into.

Script by Philip Collier - but the real authors are Matthew, Mark Luke and John.