My normal practice on Sunday mornings is to eat breakfast early enough so that I will have a chance to fast at least one hour before receiving the Eucharist. Yesterday morning, breakfast was theological.
It began simply with coffee, calling to mind the joy and exuberance of the Psalmist as he declares his delight in the Lord.
I also had an egg, calling to mind the Easter victory and confession: "He is risen!" and Mary Magdalene's reception and announcement of this proclamation "early on the first day of the week." We may dye all our Easter eggs red this year in celebration of her witness. The egg was cooked in butter, calling to mind the richness of the Promised Land and of the New Heaven and New Earth.
I had toast, calling to mind the centrality of Bread in both testaments, particularly in the breaking of the bread in the Last Supper and in the Eucharist. And it was topped with apricot jelly, calling to mind Jesus' admonitions to "bear fruit" and the "fruits of the Spirit" in Galatians.
Never before has breakfast been so theological for me.
Monday, October 30, 2006
Wednesday, October 11, 2006
Jesus Christ Superstar
I saw Jesus Christ Superstar this past weekend. I'm still not sure what to make of this production overall, but I will comment on what did move me.
Mary's Song: Mary Magdalene's song I Don't Know How to Love Him brought to mind what I think is one of the central struggles of the Christian Faith: we often don't know how to love this One whom we worship. Later in the production, Judas picks up on this same line in his struggle to understand this enigmatic Messiah, a struggle that ultimately culminates in his betrayal.
Hosanna: The song Hosanna was used remarkably well, artistically and theologically. It marked Jesus' triumphal Jerusalem entry and returned in the form of a reprise (with more somber tones) during the Passion. Both elements are present, I think, when we pray the Sanctus as part of the Communion liturgy. And our cry--outside the Jerusalem gates, at the foot of the Cross, at the Banquet Table of the Lord--is the same: "Hosanna! Lord, save us!"
Crucifixion: The crucifixion scene was moving, especially considering that it forced the audience to focus intently on the Crucified Christ. Other modern portrayals of the Crucifixion seem filled with distractions. Here one could not help but gaze on the particular Jew from Nazareth, God the Son, in all his agony and glory.
Mary's Song: Mary Magdalene's song I Don't Know How to Love Him brought to mind what I think is one of the central struggles of the Christian Faith: we often don't know how to love this One whom we worship. Later in the production, Judas picks up on this same line in his struggle to understand this enigmatic Messiah, a struggle that ultimately culminates in his betrayal.
Hosanna: The song Hosanna was used remarkably well, artistically and theologically. It marked Jesus' triumphal Jerusalem entry and returned in the form of a reprise (with more somber tones) during the Passion. Both elements are present, I think, when we pray the Sanctus as part of the Communion liturgy. And our cry--outside the Jerusalem gates, at the foot of the Cross, at the Banquet Table of the Lord--is the same: "Hosanna! Lord, save us!"
Crucifixion: The crucifixion scene was moving, especially considering that it forced the audience to focus intently on the Crucified Christ. Other modern portrayals of the Crucifixion seem filled with distractions. Here one could not help but gaze on the particular Jew from Nazareth, God the Son, in all his agony and glory.
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