“Assigning Parts”
in Outreach Theatre
by Sherry L. Kirton
August 2001
Assigning parts need not be as difficult as it usually is. Artistic Outreach actors are ministers who present the Gospel with their bodies and words surrounding it with prayer and preparation. This statement spins the team into an entirely different direction from the norm found in theatre. Usually, the job of an actor is to explore the many choices and feelings the character has and the director’s job is to find the best actor for each part. Instead, the actor’s job is now to portray the scripted character following the director’s lead and the director needs to find the best way to use all participants. To reach the lost with theatre use three principles.
Ability or Talent
I never hold auditions: they are counterproductive to ministry. The actors I serve, themselves, want to serve and therefore, as the director, I need to offer everyone a place of ministry. I trust that God will gift them and add strength to their abilities as time goes on, so I am more concerned about supporting these ministers rather than having them compete for attention.
Some actors are more gifted than the others, but in artistic outreach we are not showcasing our abilities, we are showcasing God’s love and sacrifice for the lost in order to bring reconciliation. Therefore, sometimes the “lesser talented” person gets the bigger part because the Lord, Himself, has commissioned that artist. This can be difficult for all, but it is crucial to follow the Lord’s leading here, directors and actors. Read a Biblical story that shows God choosing the underdog to bring a big victory (there are many of them; here I use 1Kgs. 17:7-16) and then ask, “Would you have chosen the widow and her son, to serve you a meal or some wealthy family of prominence?” to remind the team that God has a specific plan.
Stereotyping
It has been said, “There are no small parts, only small actors” and the actor’s complaint may be legitimate when a career is jeopardized, however, this term needs to be removed from the vocabulary of the artistic outreach actor. We minister not showcase our talents for awards. And too often, talented actors lose their focus in this type of ministry. Phil. 4:7-9 applies here.
Directors: be careful when you hear these complaints. Be in prayer to discern legitimate complaints from the need to discipline a member in the team toward refocusing on their ministering part in this ministry. Consider casting a “Mary before her marriage to Joseph”; a grandmother, a woman, or even a boy gives the people the wrong “information”. Therefore, if you have a group with only one man in his 30s to 40s he should expect to play a father when the script calls for one without complaint. If an actor is tired of the roles given pray with him/her asking Our Father to supply new members to carry the load, and then offer him/her a three month release period to recharge his/her spiritual batteries.
Regularity of Attendance
What good is it to have regular rehearsals if members will not arrive prepared and on-time regularly? Once again, the team needs to rely on each other to function properly. Sometimes a director will need to assign a part to a person who will struggle to successfully present it simply because that person is reliable in their attendance and sometimes a director will need to re-assign a part for the same reason.
Conclusion
Explain ahead of time that you search for scripts that use all of the participants as much as possible and that as ministers you need to be able to count on having them available, mentally, spiritually, and physically in order to choose scripts with the right message and parts. Keep in mind the final goal: ushering others into the Kingdom of God. If Directors explain these principles to the team in advance there should be less chance of grumbling, confusion and discipline problems, to God’s Glory.
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“Tip #4”
Tips 1-9.pdf
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“ ...I am more concerned about
supporting these
ministers rather than having
them compete for
attention... or awards ”
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