Dramaturgical Resources
2026
The Christians
By Lucas Hnath
Over the course of the season, our assistant directors and student dramaturgs will be compiling dramaturgical resources relating to each production as it develops. Below are some links to websites which relate to the history of the play, the biography of the playwright, and sites that contextualize and, we hope, shed light on the directorial approach to the dramatic material.
We hope you find these resources of interest.
Lucas Hnath (b. January 10, 1979)
The contemporary play The Christians was written by Lucas Hnath and premiered in 2014 at Actors Theatre of Louisville as a part of the Humana Festival of New American Plays. Hnath is an American playwright known for his intellectually rigorous, dialogue-driven works that often explore themes of mortality, belief, and the structures of power. His plays, including A Doll’s House, Part 2 and Dana H. frequently examine the tension between personal conviction and social expectation. The Christians quickly became one of his most widely produced works, winning an Obie Award and praised for its sparse staging, philosophical depth, and its ability to provoke complex conversations about faith in modern society.
At the center of The Christians is a crisis of belief within a rapidly growing megachurch. The play follows Pastor Paul, who delivers a sermon announcing a radical shift in doctrine: he no longer believes in Hell. This declaration not only disrupts the theological foundation of the church, but also its institutional stability, leading to conflict with his associate pastor and the wider congregation. The play grapples with themes of faith, doubt, authority, and the personal cost of ideological change. Rather than presenting clear answers, Hnath constructs a narrative that pushes audiences to wrestle with its ambiguity, particularly in the question of whether belief should be guided by personal conscience or communal tradition.
Set within the recognizable framework of contemporary American evangelical Christianity, The Christians reflects broader cultural and philosophical debates about religion in the twenty-first century. The rise of megachurches, the role of charismatic leadership, and the tension between inclusivity and doctrine all inform the play’s world. Hnath’s work is notable for its refusal to satirize or dismiss religious belief. Instead, it treats faith with a seriousness and nuance, presenting characters whose convictions are deeply felt and sincerely held. In doing so, The Christians speaks to ongoing conversations about truth, institutional power, and the evolving nature of belief in modern society.