Passover or the Feast of Freedom is the foundational feast of the Jewish people. In it, we remember God’s loving kindness in saving his people from bondage in Egypt and creating Israel as a nation. All that so that God himself would dwell among His people
And give us His Word in order to bless all nations. But could it be that this feast actually alludes to an even greater salvation yet to come? In the story of the crossing of the Red Sea. Moses encourages his nation to trust God. Stand still and see the salvation of the Lord.
Then, after God saves them from the Egyptians, it says. When Israel saw the great power which the Lord had used against the Egyptians, the people feared the Lord and they believed in the Lord and in His servant, Moses. But this would not be the
Last time at which God was gracious towards his people. God spoke to the Prophet Isaiah in Chapter 52 about a totally new exodus. Be cheerful, shout joyfully. Together you ruins of Jerusalem for the Lord has comforted His people. He has redeemed Jerusalem.
The Lord has buried His holy arm in the sight of all nations so that all the ends of the earth may see the salvation of our God. Isaiah prophesied that God would restore the nation of Israel, that He would save them from their enemies, grant them peace and security.
However, this time the salvation will not only include a physical redemption. Rather, it will include a spiritual redemption reaching the whole world. And this is what Isaiah talks about in the next chapter. Chapter 53. All of us, like sheep, have gone astray. Each of us has turned to his own way.
But the Lord has caused the wrongdoing of us all to fall on Him, just like the Passover lamb. Isaiah prophesied that the servant of the Lord would give his life to save his people. In chapter 53, The Salvation that the servant of the Lord brings to
Israel is not from Egypt or from the plague of the first born. Rather, it is the salvation from our personal sinfulness. The salvation God offers to us is from our guilt. After Isaiah describes the death of the servant, he continues to prophesy that he would prolong his days.
How can it be the only way the servant of the Lord can prolong his days after his death is through His resurrection? No wonder that when we quote these verses to our Jewish brethren, they think we quote from the New Testament. But the Hebrew Bible states clearly
That the Messiah had to suffer and die to redeem his people. But he doesn’t remain in the grave. He rises and grants forgiveness of sins and justifies the sinner by the knowledge of the righteous one. My servant will justify the many. In first Corinthians 15, Paul boldly declares
That if the Messiah has not been raised, then our preaching is in vain. Your faith also is in vain. If the Messiah has not been raised, in other words, since the beginning of the faith in Yeshua, the Messiah, his resurrection stood as the cornerstone, the very foundation
Upon which the truth of Yeshua stands or falls. If you’re sure did not rise up from the dead, then his death is meaningless. We are still in Egypt without a savior. Guilty before God and slaves to sins, bondage. The disciples did not expect the resurrection of Yeshua.
They thought and hoped that he would free Israel from the Egyptians of that time, the Romans. They thought he would strike them and drive them out of the land. They missed part of the message of the prophets. They thought that the idea of a crucified
Messiah is a failing Messiah at best, or worse, a false messiah whom they would need to replace with another Moses who would deliver them from the Romans against all odds. And in contrast to their initial expectations after Yeshua’s death. Something happened. The disciples began to insist that
Yeshua, in fact, rose from the dead and conquered death. They began to proclaim their message in Jerusalem, in the very place where Yeshua was crucified and buried, where everyone could go and check if the tomb was in fact empty. Not only did they proclaim the message boldly,
But they were ready and willing to suffer and even die for it. And most of them did. The significance of the resurrection is that it validates Yeshua’s message. His gospel is true. Yeshua claimed to be God himself, who came to free us from sin, to cleanse us from our guilt and justify us.
The resurrection is the proof that his radical claims about his identity and work were true. Moreover, his resurrection gives us hope and assurance that this life is not all that there is. The death is not the end. On the basis of Yeshua’s resurrection, the New Testament proclaims that anyone
Who puts his faith in him will rise up from the dead to everlasting life. But the fact is, Messiah has been raised from the dead. The first fruit of those who are asleep for since by a man death came, by a man also came the resurrection of the dead.
Four as in Adam all die. So also in Messiah, all will be made alive. The gift of salvation is given freely. We receive it through faith, through putting our trust in the Savior of Israel. Yeshua, notice that in the story of the Exodus.
Or more specifically in the crossing of the Red Sea, the nation of Israel did not need to do anything to merit their salvation from the Egyptians. Their own power could not stop the Egyptian army God alone, granting them freedom and salvation. They only needed to step in faith towards the water.
As the author of Hebrews puts it by faith, they pass through the Red Sea as through dry land. All people, Jews and Gentiles, are guilty before God and find themselves separated from Him due to their personal sinfulness. In Hebrew, the word sin comes from the same root
As missing the mark in our inherent sinfulness as humans. We miss God’s mark, but through Yeshua, as death and resurrection, he opened a new way to enter into an eternal relationship with God through faith. Yeshua was delivered over because of our wrongdoings and was raised for our justification.
This relationship cannot be broken since it is established upon the perfect sacrifice of the ultimate Passover lamb. The sacrifice of Yeshua. Behold the lamb of God who takes away the sin of the world for by one offering He has perfected for all time those who are sanctified. So what about you?
Have you put your faith in Yeshua? If not, today is the day of salvation. If you want to receive forgiveness of sins, eternal life and a living relationship with your loving creator, simply talk to your Heavenly Father in your own words. He listens and that is the meaning of prayer. Rejoice with us.
Welcome to TFP, The Theatrefolk Podcast. I am Lindsay Price, resident playwright for Theatrefolk. Hello, I hope you’re well. Thanks for listening. Welcome to Episode 87! Yes, dork central, that would be me. So, you can catch the links for this episode at theatrefolk.com/episode87.
Last week, we talked about character interpretation from the director’s perspective and how two directors from my play, Cobweb Dreams, saw their particular productions. You know, same script, same set, same costumes, same blocking, and then completely different productions. So, this week, we are going to talk to the students from that production.
I have two sets of students, each who prepared the same character — one for the high school production of Cobweb Dreams and then one for the middle school production — and I really wanted to get their point of view on character interpretation, especially since they were
Able to see, you know, basically, right in front of them, another actor preparing the exact same role. So, how does that affect their preparation and were they intimidated or exhilarated, right? So, let’s talk to our first set. Excerpt: Oh! Do you smell that? Ugh! What? It’s the worst thing I have ever smelled!
Quick! Plug your ears! Hold your breath! Why is everybody yelling? Bottom… you have changed! Cha-cha-changed! What is on your head? Can we get up yet? Not yet! Still stinky! Hee haw! You’re all just making asses of yourself. Lindsay: Hi! All right.
So, I am here and I am in Owensboro and this is actually a very cool situation because we’re sitting in a theatre and it’s empty and it’s quiet. The stage is empty and I’m sitting here with two actors. I’m sitting here first with Tucker. Hello! Tucker: Hello! Lindsay: And with Cory. Hello!
Cory: Hello! Lindsay: And, Tucker, what are we here to talk about? Tucker: Cobweb Dreams. Lindsay: Cobweb Dreams! That’s right. It’s tonight, right? It’s this afternoon. We have the middle school production doing their first performance and then tonight with Cory we have the high school performance, right? Cory: Yes, we do.
Lindsay: Are you guys excited? Cory: Oh, yes. Tucker: Very. Lindsay: Very? You guys can finally get to get it in front of an audience. Are you ready, Tucker? Tucker: Yeah! As ready as I’ll ever be! Lindsay: Yeah? That’s good. How about you, Cory? Cory: Yes, very much ready. Lindsay: Good.
So, what’s really interesting is that, so, Tucker is in the middle school production of Cobweb Dreams and Cory is in the high school production and they’re playing the exact same roles. Cory, what role do you play? Cory: Bottom. Lindsay: Yes.
So, Cobweb Dreams is a sort of a version of A Midsummer Night’s Dream and some of the same characters are the same. Just like that. So, did you want this part, Cory? Cory: Oh, yes, very. It’s a comedic role. Love to make people laugh. When I read the script, wanted Bottom.
Lindsay: How about you, Tucker? Tucker: Same. Lindsay: Yeah? You really wanted this part? Tucker: Yeah, I did. Lindsay: Tell me why. Tucker: I like making people laugh and being laughed at. So, that’s pretty much it. Lindsay: Now, is this part easy for you or difficult?
Tucker: Well, it’s something that I know how to do, but there’s different difficulties because it’s a different character. Lindsay: What’s something that’s difficult? Tucker: The lines confuse me sometimes. Lindsay: Yeah? Tucker: I just cut people off a lot in the show. Lindsay: Right. So, it’s hard to get the timing right. Tucker: Yeah.
Lindsay: How about you, Cory? Is this an easy part or difficult? Cory: It’s a difficult. I believe that the mindset of the character you have to play is very difficult to understand. You have to get that arrogant feel. Lindsay: So, because you guys are playing two different productions, exact same part,
What’s really interesting to me is how there’s a lot of similarities — same script, you guys are working on the same set, you have essentially the same costume — and yet, time and time again, the characters, two people who are playing the same character do them differently.
So, Tucker, what do you think that you do that’s different than Cory? Tucker: I feel like, since our group’s younger, we react differently. Lindsay: Yeah. Tucker: To different things. Like, I don’t see Tatanya the way his Bottom does. Lindsay: Yeah. How do you see Tatanya?
Tucker: I see it as there’s a girl who likes me, why not join on in the fun? Lindsay: It’s a fun experience for this character. Tucker: Yeah. Lindsay: What about you, Cory? How does Bottom interact with Tatanya? Cory: I believe that he’s so into himself that he doesn’t realize that the person in
Love with him isn’t even human. He’s just like, “Okay. This gorgeous girl is hitting on me. I’m just going to go along with it. Why not?” Lindsay: Right. Then, you guys, when you were doing your rehearsals, did you guys talk about the role together? Tucker: Yes. Cory: Yes.
Lindsay: What was that like, Tucker? Tucker: Well, we talked about our back story a lot. Lindsay: Oh, tell me what your back story was. Tucker: Well, I’m related to Snout in the show and I don’t believe he is. Lindsay: Oh, cool. Okay. We’ll do one then the other. Tucker: All right.
Lindsay: So, you’re related to Snout in what way? Tucker: Yeah. We’re brothers and Quince is like his best friend and they needed somebody else in the show that they were doing. Lindsay: Hey, is Snout the one who jumps into your arms at the end? Tucker: Yeah. Lindsay: Yeah! Okay. That’s really good.
I like that, building that relationship. Tucker: Yeah, they needed somebody else and I was like, “Nah,” and they were like, “Come on,” so I did it. And then, it turns out I’m obsessed with it so why not do it everywhere I go?
And just perform and perform and perform it even though I’m not that good. Lindsay: Do you think this character knows that he’s not that good? Tucker: No. He thinks he’s the best thing in the world. Lindsay: Yeah? Tucker: Yeah. Lindsay: Cool. And then, what was your back story, Cory?
Cory: It was I actually am related to Snout. However, I put it as more of adeeper sad kind of like our mother left us after which so Snout kind of raised mee and all that with my father and I put it as he doesn’t really
See the world through anyone else’s eyes except Snout. So, he’s really arrogant, he’s like Snout. Lindsay: Really? Why is back story important? Cory: It helps character development so much. It tells you were you’re from, how you develop, how you perform out there. Lindsay: Yeah.
Do you have a lot of experience, Tucker, doing all this kind of back story and character development for your stuff? Tucker: Well, I usually wrote, like, a page. But, for this one, I had somebody who was that but they were behind me and helped me which was Cory.
So, I ended up writing two, three pages because he helped me, like, he helped me get through. So, I was confused on a lot of stuff and he’s older so he would have understood. Lindsay: So, you have someone who’s older who’s playing the same part as you and he’s
Sort of like, if there’s anything that you didn’t understand in the script, then he sort of explained it. Tucker: Yup. Lindsay: What’s something that you didn’t understand? Tucker: The song because I’m singing and he told me the song.
That didn’t really work out for me because I’m a younger kid so I ended up singing a different song. But that helped me out a lot. Lindsay: Yeah, just to have someone who kind of throws you, lets you know. Tucker: Yeah.
Lindsay: Did you ever feel any pressure, Tucker, to act the way Cory does? Tucker: I wanted to be as good as Cory, but I wanted to be different because I’m not Cory. I’m not going to be Cory.
But I wanted to be with him but be myself and be different, but still be as good as Cory. Lindsay: Did you feel any pressure, like, just sort of that you know you had to mentor kind of another person who’s playing your same character?
Cory: Yeah, when I saw the middle school perform and he was up there, I kind of felt, like, responsible to help him develop and help me develop in the same way. Lindsay: How did it help you? Cory: He taught me the differences between, like, his reactions are totally different from my reactions.
So, I kind of combined them together to make a completely new reaction that both parties helped create. Lindsay: Yeah, and have you ever done this before where there’s another person, like, right there all the time, playing the same part? Cory: Nope, never done this before.
Lindsay: So, how has that helped you as an actor? Cory: It lets me see two different sides of the same character — two different roles of the exact same character — because, when I see the show today, I’m going to be looking at his part.
He’s doing it completely different from me, but that’s okay because he’s doing it his own way which is what I respect. I love that people can go, “I’m going to do it this way, but I’m going to do it this way, and it can be even better. It could be amazing.”
Lindsay: Well, this is a perfect example of character interpretation, right? That there’s no one way to play a part, there’s no one way to interpret a theatrical experience. How has this helped your acting, do you think, Tucker? Tucker: Well, I felt like I had more help this time.
Like, not that I needed help but Cory was there to help me. Like, I wouldn’t have understood half the stuff in the show if it wasn’t for Cory because Cory knew how to explain things to me when other people didn’t really understand our
Role because they weren’t the ones practicing the lines every night. So, he helped me, like, back story a lot. He helped me through that, like, because it’s not the easiest thing for me to do. Lindsay: No, and also, I mean, how long have you been acting? Tucker: A while.
Lindsay: Yeah, but is this one of the few parts where it’s been this involved? Tucker: Yeah. Lindsay: Yeah. So, how are you going to tackle your next role, do you think, based on this experience? Tucker: I don’t know.
Like, I’m going to find somebody who can help me out, too, who will actually, like, they know it as well because, like, I saw that when Cory helped me, it helped me grow so much and another person could do the exact same thing because I want the help.
I want the criticism because all criticism does is help you. It helps you more and more. Lindsay: What about you, Cory? What will you take from this to the next thing that you do? Cory: I believe the next thing I do is, when I get the character and when I get the script,
I’ll actually have someone perform the other character so I can take their interpretation and mold it into my own interpretation to get two different sides of the story. Lindsay: Well, it’s so funny because sometimes you see something you just never thought of, you know? And that can really help you grow.
Just what you guys are saying, it can help you grow as an actor. So, you’re excited for the show. What’s the thing you’re looking forward to the most, Tucker? Tucker: I don’t know. Doing my final monologue. Lindsay: Doing your final monologue Tucker: It’s really fun. Lindsay: Yeah?
I think that moment that you guys have, well, I just love it when Snout just runs down and he leaps into your arms. Tucker: And I catch him, yeah. Lindsay: Are you looking forward to the audience? Tucker: Yeah, yeah. Lindsay: Responding to what you have to do? Tucker: Yeah, definitely.
Lindsay: How about you, Cory? Cory: My favorite part about performing is the audience reaction because I take what they give me and I go, “Okay. I’m doing something really good here.” I just love when they give me a laugh. That’s my favorite part of doing this. Lindsay: Awesome. Cool!
Thank you so much for talking to me. Tucker: Thank you. Cory: Thank you. Lindsay: Ah, great! Awesome. Okay. So, now we’re going to talk to two different actors — again, one high school student and one middle school student — and this brings in a different aspect of character interpretation
— the same character played by two different genders. So, how does gender affect interpretation from the actor’s point of view, okay? Let’s do it. Excerpt: Ow! My wings! Get off of me! You get off! Do you mind? I don’t like being flattened. What are you doing here? What are you doing here?
Why are you hiding in the bushes? Who’s hiding? It’s a free forest! It’s not like we were spying you. What? Spying? Who said anything about spying? How long have you been there? We were visiting our friend! You have no business here! None of you have business here. Ugh!
It isn’t nice to sneak up on a fairy, Moth. Lindsay: Okay. So, now I’m here with John Thomas. Hello! And Lucy, say hi, Lucy. Lucy: Hello. Lindsay: And both of you also play the same character in Cobweb Dreams. Lucy, what is your character? Lucy: Thicket. Lindsay: Thicket.
Thicket is sort of the best friend-ish, brother-ish character to the main character, Cobweb, right? Right. Now, the thing is that, in the middle school version — Lucy, which you are in — Thicket is played by you and you are a…? Lucy: Girl. Lindsay: Girl, yes.
And John Thomas in the high school version, you’re a guy, right? And so, what part were you looking for when you auditioned for the play? John: I was actually looking at Puck. I really thought he was very playful and mischievous. It was a different character than I was just playing.
And then, Miss Greer put on the board on the auditions the names of flower fairies and water fairies and all that, and then she starred certain ones that she wanted to turn into a guy and I was just thinking, “Huh.
That’s going to be interesting to see how they’re going to turn it into a guy.” I didn’t think I was going to be the one to change it. But it’s been really interesting. Lindsay: It’s interesting for me, too, because, you know, for me, I saw Thicket as a girl,
But I really like Thicket as a boy. Like, what do you think of the character as a guy, John Thomas? John: I just think he’s more like a brother to her. If you have a girl play it, it would be more like the best friend, you know. Willow’s kind of like the mommy.
But Thicket is kind of like the brother and he’s also kind of an authority figure to her in the end whenever he just tells her, “You know, you belong with us. I don’t know why you can’t see it.” Lindsay: Now, Lucy, how do you see the character?
Lucy: Well, I see it really playful that she doesn’t really want to get in trouble with Tatanya but, at the same time, she wants to have fun and she wants to go with Cobweb. And, every time Cobweb gets in trouble she’s worried that Cobweb will rat her out, really.
Lindsay: Do you know what’s really interesting though? When I saw taking pictures yesterday of you, Lucy, every time, like, Cobweb was threatened or every time the flower fairies came around, you made a fist and it’s like you were going to get up and you were going to beat somebody up. Is that conscious?
Did you make a choice to be angry and make that really tense fist? Lucy: The first time that happened, like, I was up in her face and I was like, “Wait. Hey, how did I get here?” and then, the other times I thought, “Oh, well, I thought that was fun.
Might as well go with it.” Lindsay: Yeah, it’s a really interesting image which I think the high school, John Thomas, your Thicket’s not like that at all. How do you see that? John: He is a lot like Willow.
The way that I looked into the back story is that Willow and Thicket were brother and sister. Lindsay: Right. John: And they both do kind of worry about Cobweb and they’re really concerned about Cobweb, but it’s also like she has to make her own decisions and she has to fail at times,
Just like everyone. Lindsay: Right. Yeah, everybody has to. Lucy, did you do some background work on your character? Lucy: I did! Lindsay: So, what’s your back story? Lucy: Well, Thicket is Willow’s twin sister but they’re like fraternal twins — they’re
Nothing alike — and Cobweb, they just kind of ran into Cobweb one day when Cobweb was about to get beat up by a flower fairy and Willow and Thicket kind of jump in and save her. Lindsay: Yeah. There’s a moment at the end where, in the middle school version, it’s you and Willow
And you’re sort of Willow’s revealing to Thicket for the first time that she’d really missed Cobweb and you guys hold hands when you walk away. What’s that moment like for you? Lucy: Well, it’s kind of big for us.
I mean, Willow has always been, you know, like, “Oh, I’m worried about her,” but, you know, she’s offended in that and then, in that scene, she’s more, “She’s my best friend. I’m going to die without her. I really need her there.”
Lindsay: Did it make sense for you to hold hands when you walked off? You hold hands in other areas, too, don’t you? Lucy: Uh-huh. Lindsay: Yeah. John Thomas, you and Willow don’t do that, do you? John: No. Lindsay: Why? John: I think Thicket really gets annoyed with Willow because she’s always worried and
She’s always trying to control Cobweb and he really just, as he says, she has to make her own decisions and he gets annoyed with her because he has a bunch of stuff to say. Thicket is younger than Willow and I think he’s a lot wiser even though he is younger
And he has so much that he wants to say and he wants to take care of everyone but Willow isn’t letting him so he just gets annoyed with her sometimes. Lindsay: I love how we have, like, so it’s the exact same show, essentially, but, you
Know, people are able to make completely different interpretations of their character. Lucy, what was it like to see your character played by another person? Lucy: Well, I always saw Thicket in one way. Like, the boyish fairy, very happy, very playful, and then, when I saw John Thomas, I was like,
“Oh, Thicket can be another way,” and I was amazed by that. Lindsay: Yeah? Did you ever feel any pressure to play it his way? Lucy: Not really, no. Lindsay: That’s good. That’s good. And what was it like to see the different interpretation of Thicket?
John: It was interesting to see how the show was written for a girl. I really thought it was cool and, you know, I had known Lucy just through seeing her perform at the middle school and so I really was happy for her to get the role and it was just, you
Know, just looking at her, it’s just like, “Wow!” I really love how we can interpret things differently and it still can be such a good show. Lindsay: Yeah. It’s like it’s very open, isn’t it? I love that. So, are you guys looking forward to the show?
So, tonight we have the high school and this afternoon the middle school. What are you looking forward to, Lucy? Lucy: Performing for my mom. She’s been really excited about this. She’s helped me run my lines. She’s made my costume. She’s with me all steps. Lindsay: Cool. How about you?
John: I’m just really excited to premier something. You know, we’re the first group to do this in the United States and it’s just really cool when, you know, twenty years down the road, I can look back and say, “This is what I did.”
Lindsay: Well, and also your names are going to be, when it gets officially published, you’re going to have your names in the published work which is also very cool. This is a very unique experience that we have the same show as middle school and high school.
And, also — you must have — did you have a conversation together about your character? Lucy: Yeah. Lindsay: And how do you think that this experience is going to help you the next role that you do? Lucy, what do you think?
Lucy: Well, next role I do, I’ll know not just to see one way. I’ll know to look at it from different points of views, you know, see them as something else. Lindsay: Cool. How about you? John: I’ve learned that you can’t just look at a script and get your character that way.
You have to research and you have to, I mean, it’s little stuff like looking into the name like where does the name come from. So, I’ve learned that I can’t just not do back story. I have to know who this character is. Lindsay: Awesome. John: It just makes the experience so much cooler.
Lindsay: Awesome. Okay. Break a leg, buys. Thank you! John: All right. Thank you. Thank you, guys! Okay. So, don’t forget, you can find the links for this episode at theatrefolk.com/episode87. Before we go, let’s do some THEATREFOLK NEWS. It’s a play feature! It’s a play feature! It’s time to feature a play!
So, our play of the week this week is Postcards from Shakespeare by Allison Williams. Allison has a number of plays with us — Drop Dead, Juliet!, Hamlette, Mmmbeth, The Scarlet Heart — and we are thrilled to have another in our catalog. So, here’s the deal.
Shakespeare has writer’s block and he doesn’t know how to fix it so he turns to the only person who can get him out of this jam, Queen Elizabeth I. Of course! Who else would you turn to, right? Okay. Here is a short moment from the play:
WILLIAM: The words just aren’t coming out…it used to be so easy! Bang out fifty-odd pages, rush it to the theatre, collect the money. Four histories, two comedies and a really long poem in the last four years! But now, I am a block, a stone, a worse than senseless thing.
Please, Elizabeth, no-one understands me like you do. What shall I do? ELIZABETH: How dreadful for you! Sometimes I don’t know what to say, either! But then I just yell, “Chop off his head!” or “I’m not getting married!” and that covers most situations. If I yell it in French, I look clever, too.
“Couper la tête! Je ne vais pas épouser!” I don’t think that will work for you, though. You’re already married. And you can’t chop off people’s heads. Well, you can, but you may not. Where would we be if everyone just chopped off someone’s head when they felt like it? Spain.
And then we’d all have to take three hours’ nap every afternoon, just when the weather’s getting nice. Willy—William—your plays make me—what’s that feeling when no-one’s attacking you with guns or asking you to marry some repellent little toad from Norway? Happy! They make me happy. Not too many things do that any more.
They say a change is as good as a rest, Willy dear, so let’s have a change of scene. See what I did there? “Scene?” I’m sure I could be a writer, too, if I wasn’t so busy crushing the Welsh. Enclosed is a purse of ducats. Well, not enclosed, attached.
Well, handed to you by the messenger with this letter. You know what I mean. Take a little trip on me, Willy, and see if that gives you some fresh ideas. Don’t think of it as giving up—it’s like a strategic retreat. Like the Spanish! “Invincible armada,” my Aunt Fanny.
So, Shakespeare takes a whirlwind tour around the world in thirty minutes looking for inspiration. Venice, Egypt, there’s something rotten in the state of Denmark. Go to theatrefolk.com. Search for Postcards from Shakespeare. Read the sample pages. Laugh your butt off. Buy a copy. Do it now.
Finally, where, oh, where can you find this podcast? We post new episodes every Wednesday at theatrefolk.com and on our Facebook page and Twitter. You can find us on YouTube.com/Theatrefolk. You can find us on the Stitcher app and you can subscribe to TFP on iTunes. Go there, search on the word “Theatrefolk.”
That’s where you’ll find us. And that’s where we’re going to end. Take care, my friends. Take care.
– Back in the ’80s and early ’90s, a wave of troubling accusations swept across North America. – New and intense scrutiny on the activities of Satanic cults. – [Reporter] Stories of devil worship and Satanic cults corrupting young minds– – Unbelievable crime at the hands of Satanic cults.
– There were terrifying tales of secret Satanic cults bent on tormenting and corrupting the young. Heavy metal music had hidden Satanic messages. – Possibly Satanic messages on some rock music recordings. – Games like Dungeons and Dragons were luring kids to devil worship, and it got even stranger.
– The allegations of physical and sexual abuse of children at a babysitting service. – The dark world of ritualistic child abuse. – [Reporter] There’s a widely held opinion that what happened at the daycare was the devil’s handiwork. – Underground networks of Satanists were infiltrating daycares and preschools
To physical and sexually abuse children in occult rituals. Much of what fueled the panic was not real, but these claims led to a wave of high-profile criminal trials in the US, Canada, and beyond. The cases often followed a similar pattern, an initial report of physical or sexual abuse at a daycare would snowball, taking on a life of its own. Overzealous interveners, everyone from parents to police to counselors would question children, some as young as two years old, in ways now known to produce false allegations.
Children began to talk about animal sacrifices, blood rituals, secret tunnels, even cannibalism. Police would lay charges, prosecutors would take them to court, and the media would report uncritically on what seemed to be a growing threat. – [Reporter] Authorities searched frantically for evidence of an apparent ritual abuse epidemic across North America.
– Some cases would fall apart at trial or during appeal. Others resulted in wrongful convictions. Many of the accused spent years in prison, while others faced financial ruin and damaged reputations. As it turns out, the Satanic Panic may have its origins in Canada. When asked about the spark that set off the hellfire,
Many experts point to this book, “Michelle Remembers”, published in 1980, written by Canadian Psychiatrist Lawrence Pazder, and his former patient Michelle Smith. The book provided a template for the allegations of Satanic ritual abuse that followed. Pazder claimed he helped Smith recover repressed memories from her early childhood of a terrifying initiation
Into a secret cabal of Satanists operating near Victoria, British Columbia. – They would put me in cages. They would sacrifice animals. They would have a lot of candles, and chanting, and bizarre things I had never seen. – Did people think this was a fantasy? That you made this all up?
It was such hocus pocus that it couldn’t possibly have happened? – Well, I was one of the first to stand up and start to recount these kinds of things to bring it publicly. – There was no evidence or witnesses to Smith’s account, yet Pazder presented the book as a true story.
– The hard evidence is difficult to find, because if a child is sacrificed, that child’s body isn’t gonna be left. If it’s an Orthodox Satanic cult they’re going to burn the body and they’re going to eat it during ceremony so they’ll leave no evidence around.
– “Michelle Remembers” is also one of the first books to suggest that underground Satanic networks were not only real, but were infiltrating communities in and organized effort. Anyone could be a Satanist, your nextdoor neighbor, your dentist, or your daycare provider. It was an idea that stuck with many readers.
– The book is called “Michelle Remembers”. – The book became an overnight sensation, and Pazder and Smith received a lucrative publishing deal, about $1.2 million in today’s dollars. It also established Pazder as a sought-after expert on the burgeoning phenomenon of ritual abuse, a term he coined himself.
There was even talk of a movie deal with Dustin Hoffman playing Pazder. For the McMartin Pre-School trial in Manhattan Beach, California where seven daycare workers were accused of ritually abusing children, Pazder was flown down to be an expert consultant in Satanic cults for the prosecution. In another ritual abuse case in Bakersfield, California,
“Michelle Remembers” was used as training material by social workers who believed they had uncovered an extensive Satanic pedophile ring. Specialists in Satanic ideology were suddenly in high demand as more and more ritual abuse cases went to trial. In Austin, Texas, another self-styled Satanic cult expert was used to secure the convictions
Of daycare owners Dan and Fran Keller, who spent decades in prison before being exonerated. It became increasingly common to see ritual crime training seminars led by psychologists, church groups, and even the police. This is former FBI agent Ken Lanning, who studied the spread of the panic in the ’80s.
– [Ken] All the people network with each other, and they’d all get together and goes to seminars and discussions, and they’d be told, “This is what Satanists do and this is how they do it.” And so all that is planted through the use of these kinds of techniques, hypnosis and other ways,
That cause the spread of this kind of stuff. So many people say, “Well, you can’t identify these cases “unless you’ve been trained to learn about them.” And some of that training becomes a self-fulfilling prophecy. – The commercial success of “Michelle Remembers” inspired dozens of copy-cat memoirs, which further amplified the perception
That Satanic ritual abuse was widespread, but there was never any evidence of a Satanic conspiracy. In 1994, a psychologist from the University of California researched over 12,000 accusations of ritual abuse, but found no substantiated reports of organzied Satanic groups who sexually abused children. In later years, as the panic died down,
Pazder tried to distance himself from the claims he made in “Michelle Remembers”. – I’m not there to believe or not believe, I’m there to try and understand what they’re trying to tell me of an experience. Whether that has actually happened to them or that is their way of trying to express
A profound pain that they’ve experienced. – But neither he nor Smith ever publicly renounced the book’s allegations. This strange period of moral hysteria serves as a reminder of what can happen when we abandon the pursuit of facts for a more sensational fiction. The question is have we learned our lesson?
I’m Lisa Bryn Rundle, host of “Uncover Satanic Panic”. You can listen to the series now on the CBC Listen App or wherever you get your podcasts. – Is there a well-organized plot, an insidious design right now to program and influence the minds of our children towards the occult and witchcraft?
SPROUL: The New Testament is not suggesting that a virgin walks down the street and on her own strength and her own power suddenly conceives a child Of all of the miracles in the New Testament—the miracles of Jesus walking on the water, turning
Water into wine, feeding five thousand people, raising people from the dead, and so on—there’s one miracle story that seems to have been singled out for particular controversy, and that being His virgin birth. I mean, there have been furious debates, particularly in our
Day, over the credibility of the New Testament documents at the very beginning of Jesus’ life, because the New Testament presumes to teach that Jesus was born of a virgin. Now, some have tried to argue that the text doesn’t really teach it,
But that seems to be an act of despair to support it. But others just say, “Well, this is part of the mythical surroundings of the New Testament documents that no scientific, educated, sophisticated person in the twentieth century could ever believe.” Because if there’s
Anything that we know through our research and our understanding of the biological process, the system of reproduction, it’s this: that virgins don’t have babies. That it takes two people, male and a female. It takes the egg to be fertilized by the sperm in order for a baby
To be conceived—in vitro or ex vitro, doesn’t matter. It still takes both sides. A virgin, in and of herself, cannot conceive and have a baby. That is an inflexible, unbreakable natural law. And so anyone who would argue to the contrary must be involved in fantasy, legend, or myth.
But dear friends, let me say in the first instance that the New Testament is not suggesting that Jesus is born “”de”” like Athena out of the head of Zeus—that a virgin walks down the street and on her own strength and her own
Power suddenly conceives a child, and this child then is born and becomes the Messiah. No, it’s not as if we have a biological wonder that seeks to produce something out of nothing, that we can have the process of birth and the advent of life from no cause,
No power. But rather, the New Testament is saying, “Yes, indeed. There is a normal power, a normal facility, by which the race is propagated and the species replenished that we call the reproductive system. And there is a power unleashed through the reproductive process.”
The New Testament’s saying is that that power that we have in normal categories of nature has been set in motion and injected into this planet by a superpower that we call God, whose power stands behind all of creation, all of life.
Without the power of God, there can be no egg, there can be no sperm, there can be no life at all. The great miracle comes from the naturalist today who tells us that the world popped into existence on its own power. That’s the virgin birth of the
Whole universe. They deny the virgin birth that God Himself brings about by this power, this virgin birth, a very small thing for the Lord of heaven and earth to accomplish, indeed. And those who deny it put in its place the virgin birth of the universe. It’s incredible
That we have this kind of thinking going on, but it’s there and we have to confront it every day. But the point I want to make is this, that the New Testament says power stood behind the birth of Christ, but it was not the potency
Of Joseph that generated this child, but the potency of God the Father.”
