There are two basic strategies for using drama as a teaching tool. One is using drama to teach a lesson. In this type of skit, a problem is presented, the problem is solved, and a lesson is taught through that scenario.

The second strategy, which we will examine now, is to set up a lesson. In these skits, a problem is presented but not necessarily resolved. The primary purpose of such a drama is to stimulate the audience's thinking on the subject at hand. However, drama will also allow your audience to feel. Drama is essentially a re-creation of life. Watching realistic characters confront realistic problems generates an emotional response. By seeing the problem introduced but not seeing its resolution, the audience members mentally place themselves in the characters' positions. They ask themselves how they feel about the issue, and what they would do in such a situation.

Drama can make them laugh or cry. It may make them smile, or it could make them angry. And different people with different points of view may respond to a given skit or topic in completely opposite ways. For example, a skit that shows abortion to be the murder of innocent children may generate tears among pro-life audience members and scowls on the faces of pro-choice audience members. The intention is not to bring everyone to the same point-of-view, but to allow each individual to recall and identify their own personal feelings. By doing so, you have prepared the audience for a discussion time or a lesson. It is through the discussions and lessons that God's attitudes are presented and impressed upon the audience.

Besides leaving problems unresolved, set-up skits do not always involve God. This tactic can be used to show how hopeless a situation is without God. It may allow some one who disagrees with God's view to see the situation in a new light. Also, by holding off and not introducing God right away, you may help the unbeliever to feel less threatened. They will be less likely to feel like God is being shoved down their throats. The skit can then capture their attention, allowing you to lead them step-by-step to the resolution and God.

One of my favorite examples of a set-up skit is called "Jilted." Like many skits, this particular work came out of my own personal Christian experience. When you're a full time college student, a part-time worker, and a youth sponsor, it's easy to get distracted by your obligations and neglect your relationship with God. When I do consciously make the effort to set time apart for God, things always run smoother, and I've NEVER found I have less time for getting things done. But when my focus shifts away from God, obligations pile up, I don't make time for God, my spiritual growth suffers, and I have a harder time managing my problems.

A relationship with God is like a marriage: it requires constant communication in order to thrive. Lack of communication and time spent with God will lead you further apart, just as a lack of time spent with your spouse will affect your marriage.

It was in dealing with these problems that "Jilted" was born. The character of Amanda is that busy, eager young adult who longs for success and happiness. She has everything she needs at home in the form of her friend Jesus, but rather than spend time with him, she'd rather shop, watch TV, and be with her other friends. Everyone who knows Jesus can find something of themselves in Amanda. She asked God for a raise and received it, but she neglected to bless God in return by tithing. She spent years pursuing the goal of becoming an actress, never once bothering to ask God for his guidance and his will. Her dreams were crushed, all because she failed to find out what God's dream was for her life. She can't spare five minutes to talk with her Savior, yet she dedicates a full thirty minutes to her favorite sitcom.

The scene takes place in the living room of Amanda's apartment. The set should be furnished with a couch, a table, chairs, etc. The scene is straight forward and serious. The actors should play their characters in a natural and realistic manner- no stereotypes. The actress playing Amanda should play all of her interactions with Jesus as if he were a boyfriend or husband. This is accentuated by having Jesus dressed in modern attire versus the traditional Biblical costume. Playing Jesus and Amanda like a married couple allows the audience to first see the scene as a husband and wife relationship. Then as the scene develops and Jesus' identity becomes apparent, they can draw the parallel between marriage and a relationship with God.

The scene ends with Amanda neglecting time with Jesus, instead choosing to go out and have fun on her own. The situation is unresolved, an no solution presented. This leads into the next part of the service or program. After the skit you might break the audience into groups and ask them to discuss the skit: How would you feel if you were in Jesus' position? What did the skit show you about your relationship with God? The discussion time would then lead into a lesson or sermon. Or, the skit may be followed directly by a sermon. The skit itself did not make your point, but the skit will be a primary reason why your audience remembers the lesson: the Christian life is a day-to-day relationship with Jesus Christ, requiring just as much time, effort, and communication as any other human relationship!

Another set up script which proved very effective is "Melanie." Very few skits leave an impression like "Melanie." Even our chatty junior high group was left completely speechless dramatic monologue. This isn't the most brilliantly written dramatic piece in the world, but no one forgets about it. No one forgets the message they heard because no one forgets the image they saw.

Actors enjoy monologues because it gives them a chance to be one-on-one with their audience. They are completely alone, and will fly or die based on their own skill. And if the performer really enjoys the work he is given, great things may result.

Successful monologues have several traits. To begin with, they tell a story. It may be told directly to the audience, or it may be indirect. In either case, the character must have some story to tell in order to be on stage. Melanie's story is more or less spoken directly to the audience.

A monologue may contain dialogue, which the speaker recalls for the audience's benefit. When Melanie talks to the other runaway girl, she remembers her words of doubt. She remembers the advice she gave the runaway: advice she's probably shared with others; advice she believes in; advice she's too scared to take herself.

Monologues are also active. Drama is a visual art, not merely something to listen to. The visual aspects of the monologue support and propel the story line, and in "Melanie", the visual image makes the entire piece unforgettable. The opening is hardly interesting: a girl walks on stage with a back pack on. Then as she begins her discussion on being an addict, she shocks us. A mirror, a bag of powder, and a razor blade appear. Something most people only hear about or watch in movies happens right in front of us: a teenage girl is preparing to use drugs. This visual completely captured the audience's attention, and I doubt anyone missed a word she said or a move she made once the drugs were out in the open.

Good monologues should also contain surprises and twists. If there's no conflict, no change of direction, no twist in the action, the character might as well be telling you about the time they walked across the street safely. Melanie's story takes several twists. She robs the runaway, then intentionally wakes her up. Was it a cover so no one suspected her of the robbery? Or did she know what she was doing all along? Then there's the second twist at the end, when Melanie mails the money back to the girl...but keeps the drugs.

Many times, you'll find a skit with more than one application. "Melanie" could be used in a discussion of drugs, addictions, running from your problems, running from God, or the struggles faced by teenagers. "Melanie" seems to work best with the subject of addictions. Even though drugs are the central image of the monologue, the story focuses more on her attachment to the addict's life, and not on her drug use.

Realism is crucial to selling a skit like "Melanie." It is very likely someone in the audience knows exactly how to prepare cocaine. In order to be as believable as possible, the young lady who originated the role had a youth sponsor with first hand knowledge show her how to track cocaine. The idea is not to fool the audience into believing the person is actually preparing to take drugs, but to make it look as real as possible. In this way, the audience is able to "suspend disbelief" and, just for a moment, forget they are watching a skit in church. For that one moment, they are watching a real person struggle with a real problem. Someone trapped in a deadly addiction. Someone who wants to be free herself, but can't see a way out. Someone just like them.

"Melanie" and "Jilted" can be ordered from the skits page of the drama catalog. You can also get them as part of the book Drama Ministry for the Dramatically Challenged on the book page.

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