All the World’s a Stage
Developing and Implementing an Inclusive Theatre-Based Faith Community
- Church Leadership & Ministry
- Publisher: Wipf and Stock
- Published: 2026
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Publisher's Description
The theatre community is oftentimes neutral toward the church. Of course, not every theatre community member is against the church, but it has been Deborah Richardson-Moylan’s experience that most theatre artists are, at best, neutral toward the Christian faith, if not downright negative. This is not surprising given the general makeup of theatre artists: self-defined outsiders who have found community within theatre itself. Historically, evangelical churches have built boundaries between who is in and who is out. Typically, artists and creatives have been deemed out for centuries. Couple that with the high percentage of the LGBTQ+ community that have found a home within the theatre community, and it is understandable that the church has been viewed as unaccepting and unwelcoming, maybe even hostile. How, then, does one foster a faith family within the theatre community? As both pastor and theatre artist, the author presents this book to suggest how: (1) to create a faith family out of the theatre community, (2) to create a means by which topics of faith are presented in the lingua franca of the theatre community, while being inclusive to those in the LGBTQ+ community, and finally (3) to remain authentically loving throughout the process.
Endorsements (3)
“Deborah L. Richardson-Moylan offers in this book a new creative imagination for how the church can continue to express itself in and with community. In this book, Richardson-Moylan invites us into her own community through her gifts, the stories and voices of her beloved community, and thoughtful reflections on what she’s learned as they reimagined church together.”
“As a former professional actor, now an ordained minister, it has been my long-held belief that the craft of theater sits at the intersection between high art and a sympathetic exploration of the human condition. The study of acting is a platform from which to understand the compassion necessary, not only to play a stage role believably, but also to comfort pastorally those who suffer. Deborah’s book encompasses that unique ministry with grace and insight. Further, it opens the door toward faith for those who feel they have been left behind by traditions who often seem to exclude them.”
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