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Heart of the problem: Why so many men think church is for women (Part II)

Heart of the problem: Why so many men think church is for women (Part II)

Sunday after Sunday, believers stand and sing at the start of worship. Here is the question author Leon Podles wants church leaders to ponder: Which of these two entrance hymns would inspire the most fervor in men?

First, consider these modern lyrics: "I am God of the Earth like a Mother in labor I bring all to birth. With all the Earth we sing your praise! We come to give you thanks, o lover of us all, and giver of our loving. … We are your work of art, the glory of your hand, the children of your loving."

Now for something completely different: "The Son of God goes forth to war, a kingly crown to gain; his blood red banner streams afar: who follows in his train? Who best can drink His cup of woe, triumphant over pain, who patient bears his cross below -- he follows in His train."

Yes, times have changed and the second hymn is rarely heard today. However, Catholic and Protestant churches -- especially in the Western world -- have been struggling with masculinity issues for centuries, noted Podles, in recent lectures at Mount Calvary Catholic Church in Baltimore. In most pews, women now outnumber men by ratios of two or three to one.

"The attitude toward church among the majority of men in Western cultures varies from, 'It's OK for women and children' to general indifference to a hostility that has on occasion led to mass murder," he said, referring to the slaughter of priests and monks during the Spanish Civil War.

"Why are men more distant from Christianity? Men and women are equally fallen, are equally in need of healing grace. Why are men more resistant to the ministrations of the church?"

Speaking to Latin American bishops in 2007, Pope Benedict XVI openly worried that "this kind of distance of indifference by men, which strongly calls into question the style of our conventional ministry, is partly why the separation between faith and culture keeps growing."

C.S. Lewis on stage: Working to bring the DNA of life and faith to off-Broadway

NEW YORK -- To get to The Pearl Theatre, drama lovers visit the bright lights of Broadway and then turn West and head deep into Hell's Kitchen, where the off-Broadway marquees are smaller and the offerings more daring.

For the team behind "C.S. Lewis' The Great Divorce," the road to The Pearl ran through halls in Chattanooga, Tenn., Tampa, Fla., San Diego, Indianapolis, Atlanta, Houston, Los Angeles, Washington, D.C., and elsewhere before reaching New York for a Dec. 3 opening night in the intimate 162-seat venue.

Theater's highest hurdle is still New York City, explained Max McLean, founder and director of the Fellowship for Performing Arts team and co-writer of this version of "The Great Divorce."

Living and working in the neighborhood defined by Broadway and off-Broadway, he said, means "being surrounded by hundreds of artists of every kind. They may not be as well known as people in Hollywood, but they are producing art that's exported to the whole world. This community in New York City still has tremendous influence. …

"The goal is for our work to be taken seriously. We want to tell stories that engage the moral imagination and push people to take faith seriously -- right here."

Ironically, one way for a modern company dedicated to faith and the arts to find cultural credibility is to look to the past, focusing on the work of legendary writers who are not part of the modern evangelical subculture.

Lewis remains one of the world's most popular writers and the Oxford University don was an articulate atheist before his turn to Christianity, a conversion that took place with the help of his friend J.R.R. Tolkien. In addition to "The Great Divorce," McLean has produced, directed and starred in the four-year national, and off-Broadway, run of another Lewis classic, "The Screwtape Letters."

"Lewis called himself a dinosaur" in the 1950s, said McLean. "But for me, he remains the model for how to bring the Christian imagination into the mainstream. He remains a relevant dinosaur -- along with Tolkien -- and he points us to the work of G.K. Chesterton, Dorothy Sayers and others."