Putting the Brilliant, Tormented, Flawed Martin Luther on Trial – One More Time

In this new Off-Broadway play – "Martin Luther On Trial" – Lucifer requests new proceedings against the Catholic monk turned Protestant reformer

Certainly, a “big idea” of this play – one of many cultural events worldwide marking the Reformation’s 500th anniversary – is that “not all heroes are infallible. Not only that, they are not heroic all the time,” said Cragin-Day (who is one of my faculty colleagues at The King’s College in New York).

 

The drama unfolds in a Gothic sanctuary in a limbo zone between heaven and hell.

In this new Off-Broadway play – “Martin Luther On Trial” – Lucifer requests new proceedings against the Catholic monk turned Protestant reformer, with St. Peter acting as judge and Luther’s wife, former nun Katharina von Bora, as defense counsel.

The first witness is Adolf Hitler, who hails Luther as a “great German patriot” who saved Germany “by uniting all Germans against a common enemy – the pope. … Luther’s 95 Theses freed the German conscience from the clutches of Rome, creating space for a new moral system, one that would be distinctly German.”

Luther’s wife shouts: “Objection. Luther wasn’t a nationalist. He wanted people to follow Christ first, nation second.”

St. Peter sadly replies: “Overruled.”

So the debate begins. Luther’s defenders stress his struggles against worldly Medieval church structures, his work translating the Bible into German and his messages stressing that salvation was found through repentance and faith. It was a world-changing event when, on Oct. 31, 1517, the theology professor posted his 95 theses in Wittenberg, Germany.

The Devil says Luther’s goal was to “Reform the Christian church. His result: fracturing it into a thousand pieces.” Luther’s work also unleashed a violent storm of change in Europe. Facing public failure, as well as success, the aging Luther lashed out at Rome and the Jews in language and logic later recycled by Nazi leaders.

“There is the mad genius thing here. Not in the sense that Luther ever went mad, but there were times when he gave into his anger,” said Chris Cragin-Day, who co-wrote the play with Max McLean, founder of the Fellowship for Performing Arts, which is producing “Martin Luther On Trial.”

Certainly, a “big idea” of this play – one of many cultural events worldwide marking the Reformation’s 500th anniversary – is that “not all heroes are infallible. Not only that, they are not heroic all the time,” said Cragin-Day (who is one of my faculty colleagues at The King’s College in New York). Continue reading…