The Fellowship for Performing Arts concentrates its efforts on drama with a Christian theme. Previously it has presented an adaptation of C.S. Lewis’s The Screwtape Letters; Shadowlands, a 1990 drama about Lewis himself and his middle-aged romance with an American Jewish woman; and Robert Bolt’s A Man for All Seasons (1960), about Sir Thomas More. But its current production of Paradise Lost is a heartening leap forward for the company.
Daniel’s Husband
Daniel’s Husband is one of those plays where, halfway through, something so unexpected, plot-altering, and tone-shifting happens that it just can’t be revealed. Michael McKeever’s comedy-drama about the still-new era of gay marriage is cleft in two—part one: comedy, part two: drama—and both halves are effective, if you’re willing to accept some questionable behavior on the part of the title character.