Ritzel Comments On Play

Ah, the Washington Post—always eager to highlight anything remotely Christian with the breathless urgency of a scandalous exposé. Their November 14 piece on South Carolina’s Logos Theatre couldn’t resist the usual winks and nudges, warning readers that, yes, this theater company producing Narnia adaptations is, in fact, unapologetically Christian. Grab your pearls, folks.

The article opens with a curious fixation on Logos director Nicole Stratton’s modest costume choices for a stage adaptation of Pilgrim’s Progress. Apparently, the absence of cleavage in a 17th-century Vanity Fair scene is a cultural shocker. Who knew that Christian values would lead to—gasp—strategically raised necklines? Let’s be honest: the real scandal here is how desperate the Post is to make this detail seem weird.

Once the article finally stops clutching its rhetorical corset, it does delve into some interesting tidbits about Logos Theatre. It praises their “professional-level” puppetry (think giant, life-size Aslan), notes the theater’s scrappy origins, and recounts how they’ve wowed audiences with their creativity and craftsmanship. But as you might guess, it doesn’t take long for the Post to circle back to its real concern: Logos’ belief system.

Logos subscribes to Biblical sexual ethics, including a stance on sexual immorality you’d expect from… well, a Christian organization. Their belief statement is straightforward, but you’d think it was a secret manifesto judging by the tone.

The article even ropes in a theologian to lament the supposed “exclusivity” of such a stance. Imagine the shock: a Christian theater company following Biblical teachings! Next thing you know, they’ll be performing The Chronicles of Narnia with actual Christian themes. Oh, wait.

The Post also seems perplexed that Logos hasn’t embraced the Pride Nights and pronoun pageantry common in the D.C. theater scene. But here’s the thing: Logos Theatre isn’t trying to be another carbon copy of the politically correct art world.

They’re carving out a niche for audiences who crave productions that respect and reflect traditional values. If anything, the success of Logos highlights a hunger for something different—a reminder that not everyone’s artistic tastes align with the mainstream.

The Post’s attempt to throw shade only reinforces what makes Logos Theatre compelling. Their commitment to faith, creativity, and excellence is drawing attention for all the right reasons. So, whether you’re in South Carolina or D.C., maybe skip the moral panic and just go see one of their plays. Who knows—you might enjoy a little C.S. Lewis with your life-sized lion puppet.

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