Tag Archives: Actor

From the Archives: Wendy’s “Walk of Fame” Intro

In the fall of 2018, m’luv Wendy was inducted into our local community theatre’s Walk of Fame. She gave me the honor of introducing her that evening. As I was going through some old files this weekend, I found the text of the introduction that I prepared and delivered that night. Please indulge me. I’d like to post this tribute to Wendy so that it will be preserved on the world-wide interweb until, and perhaps beyond, the apocalypse. She deserves that.

“I have taken a billion photographs of Wendy. I take a lot of photographs period, and over the years I’ve noticed that I have this mysterious internal catch in my spirit when a certain photograph rises to the level of a personal favorite. I don’t always know why. I just know it’s special, and I have to spend time with it to figure it out. This photograph of Wendy is one of those. I’ve meditated on why it’s special and I’d like to share a few reasons why.

The first time I saw Wendy Hall was in the same place this photograph was taken. Our daughter Taylor and I were new residents of Pella and had been cast in USP’s South Pacific. We sat at the back of the Joan Kuyper Farver Auditorium as Wendy, Prop Master for the show, made her way to the front to make an announcement. I saw her from behind just like this photograph as she strode with purpose and intensity up the aisle toward the stage. First impressions. Oh my, that hair – which I’ve come to love as metaphorical of the wild-child, the explosion of passion tinged with red.

Wendy stood on that stage and gave the well-known rule for all large cast shows filled with children and teens: “Look!” she said, “Rule number one! If it’s not yours, DON’T TOUCH IT!” That little bit of a thing with the wild, red-streaked hair spoke with such assured, intense authority. I knew in that moment I was NOT going to touch a prop that wasn’t mine. I was a little scared.

In this photo, we see Wendy in the off-stage darkness, which is where I first got to actually know Wendy Hall during South Pacific. What I learned about Wendy back stage is that she knew theatre, she cared about doing theatre well, and in her arena of responsibility things were going to be done well down to the minute details. While on-stage as Captain Brackett, I had to eat a sandwich.

“What kind of sandwich do you like?” she asked me in one early rehearsal

“Why?” I asked honestly, caught off-guard by the question.

“If you have to eat a sandwich on stage it might as well be something you like,” she responded as if it was the most logical question in the world. 

But as a stage veteran, it wasn’t the most logical question in the world. Anyone who’s been involved in theatre of any kind, especially in community theatre, knows that props are thrown together at the last minute using whatever is expedient by half-hearted volunteers who aren’t sure what they’re doing. I expected a sandwich that was two slices of cheap white bread hastily purchased at the Dollar General before tech rehearsal two weeks ago and by opening night it’s dry and crusty with hints of mold.

But Wendy Hall was in charge. She was Prop Master. You’re going to have a freshly made sandwich, a real sandwich that is something you like. Because, I was Commander Bracket (dammit!), and Commander Bracket would eat a sandwich he wanted prepared for him by the mess cook. 

In one of my South Pacific scenes, I had to sit on stage for a period of time while action and dialogue were focused elsewhere. During the final weeks of rehearsal, each night I found on Captain Bracket’s desk clipboard different things to read. A Shakespeare sonnet one night, a list of corny jokes the next, a Robert Frost poem. Prop Master Wendy Hall figured if you have to sit there on stage looking at a clipboard you might as well have something interesting to read. I’d never met a Prop Master or Stage Manager who cared about the actors and their experience down to the smallest of details. 

An unknowing person looking at this photograph is likely to see only a dark, contrasting figure. A two-dimensional shape: “Female figure in black.” Over the years I’ve observed that people who don’t really know Wendy, this is what they see. A simple figure contrasted by her intensity, her strong opinions, her kick-butt and take-charge attitude which is so easy to dismiss just as simply: Female figure in black. 

I look at this photo and observe she is not in the spotlight but in the shadows off-stage because Wendy, the amazingly capable and talented leading lady, has no need for the spotlight. In fact, she does her best work on-stage during the rehearsal process. Her best work off-stage is in the shadows where she is intensely focused on what’s happening on-stage and thinking of every detail that will make this production sing – not just for the audience but for the actors and the crew members. She cares, not just for the show that takes place on stage but the experience of the entire production from the first audition to the post-production cast party. Those who only see and hear an oft intense director demanding exactly what she expects and exactly the ways she wants it do not see her on the couch at home obsessing about actors not having to be at rehearsal if they don’t have to be, parents being able to count on a well-thought-out rehearsal schedule that will make for worry-free planning, or people having a great experience from first to last.

When I look at the woman in this photograph I see someone who knows what she’s doing. She’s standing tall, intensely focused, doing the work, orchestrating the action; Pen in one hand and the other hand open and ready to edit the show and the production if they are the right changes to advance the quality of the show and the good of the whole.

From 2003 through 2017 Wendy has been credited with 43 roles in USP productions, only 12 of them as an actor. Seven of those 12 roles I had the privilege of playing opposite her, and there is no one I would rather be on stage with than Wendy because I’ve rarely met another actor who shares my passion for the process of bringing a character to stage. Thirty-one of Wendy’s roles were off-stage roles: Producer, Director, Assistant Director, Front of House, Make-up, Costumes, Props, Publicity – she’s done it all and that doesn’t count some 15 years of continuous service on the USP Board of Directors, organizing Award Nights, helping organize Drama Camp registrations, Picnics,  Costume Shop help, and of course making lots-and-lots of cheesecake.

The final thing I want to point out in this photo is the mystery it makes me feel. You don’t see this woman. You don’t really see her. You see just an impression of her. When I look at this photo, I both enjoy the mystery and experience the selfish satisfaction of being a secret keeper. I do know her. I have been granted the privilege of seeing what no one else sees. 

My theme song for Wendy, and I’m not sure I’ve ever shared this with anyone, contains these lyrics:

Tonight as I stand inside the rain
Ev’rybody knows
That Baby’s got new clothes
But lately I see her ribbons and her bows
Have fallen from her curls
She takes just like a woman, yes, she does
She makes love just like a woman, yes, she does
And she aches just like a woman
But she breaks just like a little girl

In this journey of theatre with Union Street Players I have shared her public triumphs and wiped away her private tears. I can tell that both spring from love: love of God, love of doing things well, love of theatre, love of this crazy organization, and most of all love for each of you with a depth and passion you likely know not – from this two-dimensional, female figure in black.

May I present to you my leading lady, my best producer, my life director, my muse, and my partner on Life’s journey. M’luv! And the newest member of Union Street Players Walk of Fame, Wendy Vander Well...”

Poet, Chorus, Character

I told them, “If you think it best, give me my pay; but if not, keep it.” So they paid me thirty pieces of silver.

And the Lord said to me, “Throw it to the potter”—the handsome price at which they valued me! So I took the thirty pieces of silver and threw them to the potter at the house of the Lord.
Zechariah 11:12-13 (NIV)

One of the things that I love about acting is the opportunity to bring a character to life. The first step in almost every rehearsal process is the “read through” in which all of the actors in a play sit down with the director and simply read the script out loud around a table. Then, over the process of a few weeks, those words are transformed as the actors embody the characters, are transformed by the costumers and make-up artists. Finally, they give action, expression, and relational interaction within a detailed setting on the stage.

One of the difficult parts of reading the ancient Hebrew prophets is that they often used different devices in their writing for different effects. In today’s, chapter, Zechariah begins with poetry just as he had in the previous chapter (vss 1-3). He then switches to prose and relates the message God gave him concerning a shepherd and a coming time of destruction (vss. 4-6). Zech then switches to writing in the voice of first-person. Much like an actor, he embodies the voice of the Shepherd.

Much like the prophet Isaiah whose prophesied the Messiah as a suffering servant (Is 53), the prophecy of Zechariah foreshadows a Messiah-King who is rejected by the flock. His payment is thirty pieces of silver. Historians say that this was the common price for a slave, and represents an insult.

Anyone familiar with the Jesus story will immediately recognize the foreshadowing of his final week in Jerusalem. The chief priests and leaders of the temple in Jerusalem were supposed to be shepherding God’s people but instead were running a religious racket that oppressed the people and made themselves rich. They reject Jesus (who, btw, claimed the mantel of “The Good Shepherd”) and they pay one of his disciples 30 pieces of silver to betray him. Judas later laments his decision and throws the silver back to the priests.

The description Zechariah gives of destruction, devastation, and even cannibalism is an accurate picture of the Roman siege of Jerusalem and subsequent destruction of the city and the temple in 70 A.D. The historian, Josephus, records that cannibalism did occur within the city as food supplies ran out during the siege.

At the end of the chapter, the “worthless shepherd” (a corrupt ruler over the people) is struck in the arm (arm is a symbol of strength) and his “right eye” (right is metaphorically associated with favor) is blinded. I can’t help but be reminded that in destroying Jerusalem, the Romans also torched all of the Hebrews’ genealogical records. Without being able to see and confirm direct descendence from Aaron or Levi, they are blind to who can offer sacrifices and run the sacrificial system. The sacrificial system of Moses was effectively ended. Without being able to see and confirm direct descendence from David, they are blind to know who can ascend to the monarchy of Judah. The earthly monarchy of David was effectively ended, as well.

In the quiet this morning, I find myself once again fascinated by the prophetic. It’s artistic the way Zechariah switches style three times within a chapter. He starts as a poet, then becomes the chorus, and then takes on character as he accurately envisions events that would occur some four hundred years later.

Once again, I’m reminded that there is a flow to the narrative of the Great Story God is authoring from Genesis to Revelation. There is a Level Four storyboard. I am endlessly fascinated by the mystery of it and repeatedly encouraged to know that the story is being played out, even in the crazy events I observe in the world news each day.

Line Gisters and Line Nazis

Balak said to Balaam, “What have you done to me? I brought you to curse my enemies, but you have done nothing but bless them!”

He answered, “Must I not speak what the Lord puts in my mouth?”
Numbers 23:11-12 (NIV)

I have found among actors that there is a rarely discussed spectrum. It parallels the ongoing legal debate about our Constitution here in America, between those who interpret the Constitution as a “living document” versus those who interpret it in context of its “original intent” as written.

On one end of the on-stage spectrum are those who memorize their part of the script and present the general gist of a line. They call it good. Let’s call them the “Line Gisters.” At the other end of the spectrum are those we will lovingly refer to as “Line Nazis.” Line Nazis are rabid defenders of the script, word-for-word, as written.

The playwright wrote these words for a reason,” a Line Nazi will passionately admonish his/her fellow actors. The Line Nazi then explains that changing a word or two here or there can change the entire interpretation of a line (and thus the play itself, and the intent of the playwright).  In my experience it’s at this point that the “Line Gisters” proceed to roll their eyes, the Line Nazis grumble in frustration, and the rehearsal continues.

I’ll confess to you that I have spent most of my theatre journey at the Line Gister end of the spectrum. Then, I actually wrote a couple of plays and had the privilege of watching them being produced. For the first time I began to feel personally what my Line Nazi brethren had been preaching to me all along. I was suddenly on the other side of the spectrum seeing things from a different perspective. Line Gisters would memorize and deliver a loose version of the words that I had written. Sometimes it wasn’t a big deal, but other times I had specifically crafted that line for a reason! Just getting the “gist” of it didn’t cut the mustard.

In today’s chapter, the mysterious seer Balaam continues his cameo role in the story of the Hebrews wilderness wanderings. King Balak of Moab hires Balaam to curse the Hebrew hoard camping on his borders. Multiple times Balaam speaks the words God gives him, and each time it is not what Balak paid Balaam to say. Rather than cursing the Hebrews, Balaam blesses them.

Must I not speak what the Lord puts in my mouth?” Balaam asks his prophetic patron.

Balaam understood that it was important to deliver the line as written.

God’s Message is just like the Constitution or any playwright’s script. Words can be interpreted in context or out of context. Lines can be quoted verbatim or butchered in an effort to communicate the gist. The words end up in the hands of the expositor and out of the control of the originator and/or author.

As a reformed Line Gister I confess that my years on that end of the spectrum were rooted in a generous portion of laziness and a general lack of discipline. This morning I find myself appreciating Balaam’s fidelity to deliver the words as given to him by God, heedless of the reaction of his patron. I find it honorable. I’m not sure you can call me a full-fledged Line Nazi (still working on that laziness and self-discipline), but it is a character trait I increasingly desire to exemplify in my own life, both on stage and off.

(Line Nazis Unite!)

Playing the Line vs. Playing the Want

This is what the Lord says to Israel: “Seek me and live;”
Amos 5:4a (NIV)

One of the core activities in the acting process is discovering what is motivating your character; Understanding what it is your character wants in each action and conversation. Whenever I get a script for a new part, whether the part is large or small, I first go through and break scenes down into “beats” which are small sections in which my character is focused on a particular action or dialogue.  I then go back and determine my character’s “want” for each beat.

I want to know if my uncle killed my father.
want to be with Juliet so bad I can hardly contain it.
want to be King of Scotland.

The beats and “wants” may change during the rehearsal process as I make new discoveries and my character runs up against how the other characters are playing their respective wants. As the rehearsals progress, I identify my characters overarching motivation in the entire play.

Good actors play more than just the lines, they play the want.

This came to mind as I read this morning’s chapter. The prophet Amos is writing a prophetic poem focused on the ancient kingdom of northern Israel. Connecting the poem together are three direct commands:

Seek me and live.” vs 5

Seek the Lord and live. vs 6

Seek good and not evil. vs 14

The question for Israel that Amos was poking at is the same question an actor asks of his or her character: “What (or who) are you seeking?” What is motivating you? What is it you desire?

It didn’t take me long as a young actor to realize that the acting process is applicable as the living process. It’s crucial that I examine and understand my own motivations in life, in my relationships, in my words, in my actions, in my activities, and in my work.

Along my life journey I’ve observed that uptight religious people (I know because I have been one) are immature actors playing just the lines of God’s Message. Their focus is the surface of each black and white command. I have found, however, that the Great Director is always calling me deeper into life’s script. He wants me to play more than just the religious lines. He wants me to play life from the most critical, core motivations…

Jesus said, “‘Love the Lord your God with all your passion and prayer and intelligence.’ This is the most important, the first on any list. But there is a second to set alongside it: ‘Love others as well as you love yourself.’ These two commands [and motivations] are pegs; everything in God’s Law and the Prophets hangs from them.”

“You will seek me and find me when you seek me with all your heart.”

What am I seeking?

Memorized Lines

So do not fear, for I am with you;
    do not be dismayed, for I am your God.
I will strengthen you and help you;
    I will uphold you with my righteous right hand.
Isaiah 41:10 (NIV)

When I became a follower of Jesus as a teenager, I soon found myself being spiritually mentored by a gentleman who was my boss in an after school job. Every Tuesday morning at 6:00 a.m. we would meet in his office. Very quickly he began to instill in me the discipline of memorizing verses and passages from God’s Message. The verse I’ve pasted at the to of this post was among the first that I committed to memory.

This morning as I woke and began to think about starting my day meditating on today’s chapter, I immediately associated Isaiah 41 with the verse I had memorized some 35 years ago. My soul smiled as I looked forward to journeying through the entire chapter once again.

As an amateur actor, I am used to memorizing words. I have memorized lines for many parts in many shows. In just the past few months, I had to refresh myself in memorizing that same lines for the same part I played 10 years ago. It’s amazing how few of them I actually remembered. I’m not sure having memorized them ten years ago was much of a help.

I find it fascinating that words from God’s Message memorized 35 years ago come so quickly to mind, while words memorized for a part 10 years ago were completely lost to me. I think there are reasons for this on a number of different levels, but I believe one of the key differences lies in fact that the lines of Eliot Herzog in The Christmas Post were committed to my brain for a finite period of time. I had to get through the handful of performances and then the lines had little value to me. Isaiah 41:10, however, was committed to both my mind and my heart. It became spiritually useful and beneficial to me whenever I traversed a particularly rough stretch of life’s journey.

This morning I am thinking of words that live inside my spirit, and words that I have buried in my mind. I am thankful for my old mentor and the discipline he instilled in me during those spiritually formative years. I am grateful for these words of Isaiah that have bubbled up to the surface once again as 2016 wanes and 2017 is about to begin. I am, once again, reminded not to be afraid of what the future holds, as I know Who holds me in the palm of His hand.

Costumes & Perceptions

But when the inhabitants of Gibeon heard what Joshua had done to Jericho and to Ai, they on their part acted with cunning….
Joshua 9:3 (NRSV)

Last night at rehearsal for Almost, Maine, I was in five different costumes over a two hour period, playing five different characters.

Pete is on a very important date and dressed to impress in a fashionable leather coat, along with his hat and gloves to keep him warm as he and his date gaze at the stars and the northern lights.

Steve is an awkward young man who is both simple and cautious. He wears simple jeans and a simple plaid button down. He buttons every button on his shirt out of his need for caution. You’ll have to see the show to understand why.

Lendall is in construction and roofing. He’s dead tired after working hard all day and already in bed. Thus, when his girlfriend of eleven years comes knocking, he’s in his underwear and an old worn, bathrobe.

Randy works for Lendall. He’s a single young man who hasn’t had much luck with the ladies. There’s a reason for that. He’s still wearing his worn and weathered work coat, snow boots he hasn’t taken the time to tie, and a hat that’s not very becoming.

The fifth man, is home watching television in his sweats and zip-up hoodie. He is very different than all the rest. Hate to get all mysterious on you, but you really have to come to the show to learn more about him. [tickets here!]

Five different characters. I exit stage right, take off one set of clothes, put on another, and in seconds I am transformed for the audience into a completely different person. It’s amazing what a costume and a few hand props can do.

In today’s chapter, the people of Gibeon knew the power of perception. They knew that an effective costume and a few hand props could transform them in the eyes of Joshua and the Israelites. It worked. Joshua saw their dirty clothes and dusty sandals. He saw their moldy bread and broken, dry wineskins. Perceiving that these characters were from a distant land, Joshua and the elders made a peace treaty with the shrewd actors, only to find out that the Gibeonites lived right around the corner.

It is said that “perceptions are everything.” We create perceptions with our clothes, our look, our words, our physicality, and our actions. Do I give mind to these things? This morning I’m reminded of two, make that three, things, and asking myself two questions:

  1. When Jesus sent his followers out to do ministry among the people and towns of their region, He was careful to instruct them to go with nothing but the clothes on their back. He wanted them to be perceived as simple, honest men. How does Jesus want me to present myself, and to be perceived?
  2. Jesus once told a fascinating story about a man hired to manage his masters accounts. When faced with impending dismissal, the manager shrewdly prepared for his future by going to his master’s debtors and telling them to reduce the amount they owed his master. In doing so he earned their gratitude and favor.  Jesus complimented the manager and his shrewd ability to use what was in his means, not unlike what the Gibeonites did in today’s chapter to ensure their survival. How am I to be wise and shrewd with the means given me?
  3. Shakespeare wrote: “…the play’s the thing.” Indeed.

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The “Sui Generis” Moment on Stage

It happened last night at rehearsal for Almost, Maine. It surprised me. It’s early in the rehearsal process and, while it’s not unheard of at this point in that process, it’s relatively rare in my experience.

The Latin term “sui generis” means “one of a kind,” and there is an experience that occasionally, mysteriously happens on stage that I find to be sui generis in life. It is an experience I have found unique to the art of acting, and actors who experience it once usually long to experience it ever after. It is a moment on stage that is other worldly, when actors cross over into another dimension, into the reality of the scene they are playing. It doesn’t happen all the time. You can’t predict it and there is no formula for conjuring it. But, when it happens you never forget it.

When this moment happens, when you cross over, you feel the emotions your character feels and think the thoughts that are flying through your character’s brain. You are at once in both dimensions: being two actors on the community center stage in Pella Iowa, and being two characters in a living room at 9:00 p.m. on a dark winter’s night in northern Maine.

It is an indescribable experience. It is sui generis.

Wendy and I were rehearsing our scene Getting it Back last night. We haven’t rehearsed it many times. Our lines are not memorized, we don’t have all our props, and we’re still struggling to remember our blocking. Yet, as our characters began to argue and things escalated between Gayle and Lendall, it happened. We crossed over. It was incredible. When it happens, I can sometimes also feel those watching being ushered into the moment with us. That happened last night, too.

Wendy and I often comment that we love the rehearsal process almost more than performances. Last night was an example of why. It is in the rehearsal process that you do the work of excavation and exploration. It is in rehearsal that you seek out the doorway to that sui generis moment. Like the portals into Narnia the portals to those moments can mysteriously appear and disappear. The same entrance can sometimes usher you to that moment multiple times. Then, suddenly, the way is shut and you pick up the quest once more.

The quest for that sui generis moment is part of the mystery and magic of acting. It is what draws me back again and again. And when the moment surprises you, like it did at rehearsal last night, it is a one of a kind experience of Life.

I can’t wait for rehearsal on Thursday.

Playing the Role I’m Given

At that time, too, I [Moses] entreated the Lord, saying: “O Lord God, you have only begun to show your servant your greatness and your might; what god in heaven or on earth can perform deeds and mighty acts like yours! Let me cross over to see the good land beyond the Jordan, that good hill country and the Lebanon.” But the Lord was angry with me on your account and would not heed me. The Lord said to me, “Enough from you! Never speak to me of this matter again! Go up to the top of Pisgah and look around you to the west, to the north, to the south, and to the east. Look well, for you shall not cross over this Jordan. But charge Joshua, and encourage and strengthen him, because it is he who shall cross over at the head of this people and who shall secure their possession of the land that you will see.” Deuteronomy 3:23-28 (NRSV)

Casting a show is one of the more difficult things about being a director. You can have throngs of people audition but only so many parts to go around. It’s crucial to make sure you have the right people in the right roles and there are so many things to consider about an actor when deciding which role you want her/him to play including ability, experience, physicality, chemistry with others, and the ease of working with her/him.

Without fail, people will be disappointed with the roles in which they are cast. It’s a universal. Even as I write these words I can quickly name specific roles from long ago productions in which I still believe I should have been cast. Everyone who is a part of theatre for any length of time experiences this. There’s something at the core of our fallen nature given to this seed of both envy and pride. That person thinks he/she should have been cast in that role. Feathers get ruffled. Feelings get hurt. Some refuse to play the role in which they were cast. Others grudgingly accept the role they were given, but infect the rehearsal process with their grumbling and disgruntled attitude.

Today, I’m finding parallels between God’s direction of the events in Deuteronomy and the experience of directing and leading a production. In today’s chapter we find Moses, who was the lead character in the wildly successful Exodus from Egypt, wanting a lead role in the sequel production, Conquest of Canaan. He entreats God, the great Director, with a little flattery and then begs for the part. The Director seems a bit frustrated with the incessant grumbling and insists that the lead role in Conquest belongs to the actor who was cast (Joshua) and there will be no further discussion of the matter.

One of the most difficult yet rewarding lessons I’ve learned along life’s journey is that of choosing contentment in the roles that I am given. This is true whether we’re talking about a bit role on stage or the role given me by God in the on-going production of Life. When I stop whining about not having the role I desire and pour myself into the role that I have been given, then it’s a win-win-win for myself, the Director, and everyone else in the production.

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The Significance of One Word

For Ezra had devoted himself to the study and observance of the Law of the Lord, and to teaching its decrees and laws in Israel.
Ezra 7:10 (NIV)

One of the things I’ve learned in the process of writing scripts is that words are not chosen idly. When writing what a character says, the writer is trying to capture and communicate that character’s voice. With an eye to what the story is trying to communicate as a whole, the author often chooses a word very carefully for a foreshadowing or subtle thematic effect. Actors, myself included, are notorious for playing fast and loose with the script (e.g. “I know it’s not word perfect, but I got the gist of it!“). Writing has made me a better actor as it’s made me pay more attention to the script and to be more honoring of the words the playwright crafted.

So it is that over the years I’ve increasingly found that when I’m reading God’s Message in the morning I experience a word jumping off the page at me. I try to pay careful attention when this happens because it generally leads me down important paths of thought and meditation. This morning it was the word devoted that jumped off the page at me.

Devotion is not just about duty or obedience. Devotion carries with it a component of the heart. There is a yearning and desire that comes with devotion. I thought what a great legacy Ezra left behind to be known as a person who devoted himself to studying, living, and teaching the earliest chapters of God’s Message.

This morning I find myself asking the question, “to what or whom am I devoted?”

Tom is devoted to _________________________.

When others observe my life, if they are asked to fill in the blank, what would they say? Am I devoted to things that matter? Things that make a positive difference in the lives of others? Things that are eternal? Or, am I devoted to silly things that are temporal and of no consequence? To what or whom am I devoted

Unshackled

This matter arose because some false believers had infiltrated our ranks to spy on the freedom we have in Christ Jesus and to make us slaves. Galatians 2:4 (NIV)

As an actor, I was trained to dig into a character’s motivation and what makes him or her tick. Why do they act the way they do? What is it that he or she wants? What drives him or her to do that? The result is that Wendy and I find ourselves constantly observing people and discussing what it is that seems to motivate them. It’s not about being critical, in fact it’s just the opposite. Rather than observing a person’s behavior and immediately judging the person based merely on our reaction to his or her behavior, we try to genuinely gain a better understanding of why that person behaves the way they do.

Wendy and I were just talking over the weekend about a person we have observed who seemingly chooses to be shackled to their legalistic, religious rules. Our discussion led to  that people who choose to be enslaved to legalistic, religious rules are motivated out of a fear of what others will think. It would seem that they are so worried about appearing good, pure, upstanding, holy that they will tie themselves up in knots to keep up the appearance of propriety (and will try to force their loved ones to do the same). The result? Uptight, joyless people enslaved to rules and perceptions.

This is exactly what Paul was touching on in today’s chapter. Experiencing the spiritual freedom to follow Jesus’ teaching without jumping through the legalistic hoops of Judaism, Paul now had to confront the uptight, joyless legalists who wished to put, and all other believers, him back in shackles. “No thanks,” I hear Paul saying and my own soul echoes the sentiment. I walked the path of legalism for several years and it twisted my soul to the point that love, joy, and peace were wrung out of my life – the very things that matter most.

To the legalistic, religious, rule following Jews who had believed him, Jesus said, “If you hold to my teaching, you are really my disciples. Then you will know the truth, and the truth will set you free.”

The discussion Wendy and I had led us to feel sorry for our shackled friend. “We need to pray for them to experience real freedom,” Wendy said. Indeed. And, so we are.