When I told my friend I was going to see the musical of But I’m A Cheerleader, she said, ‘Wait, is that the one with the lesbian and the conversion therapy boot camp?’ Yes, yes it is.
Based on the 1999 cult classic film of the same name, I managed to catch the show at the tail end of its run at the Turbine Theatre. I don’t see many musicals (though I have seen Heathers and will soon see Legally Blonde), so I’m not exactly a musical critic. But I have a few thoughts.
If you’ve seen the film, you’ll know it’s very stylised—and that lends itself for adaptation to the stage. Everyone is in orange and browns until the lead, Megan, is sent to ‘True Directions.’ After that, it’s all pink and blue. Because of course it is.
This is a long-overdue post in response to those who’ve asked me to write something about asexuality and theology. I wasn’t sure where to begin, so I figured I’d share some observations from my own experience.
Obviously, my experiences won’t be shared by everyone on the ace spectrum, but I’m hoping they’ll provide some conversation starters.
You remember the Nashville Statement, right? No? OK…
Imagine Martin Luther in 1517 when he nailed his 95 theses to the castle church door in Wittenberg, inviting a public debate on the church’s flagrant injustices.
The Nashville Statement was nothing like that.
Though it was published in a year ending with the number 17.
Fourteen articles, from conservative evangelical Christian leaders (some of which were prominent Trump supporters), the Nashville Statement was an overtly sexist, homophobic and transphobic exercise in ideological line-drawing, dressed in theological language.
CONTENT WARNING: This post reproduces some of its sexist, homophobic and transphobic language and arguments.
“Breathe in the good s***, breathe out the bulls***.”
As I told a friend I was going to hear Nadia Bolz-Weber speak, he said she was the only person he’d ever heard swear in St Paul’s Cathedral. She’s probably also the only person people have heard swear in Southwark Cathedral too – which is where I heard her speak about her recent book “Shameless.” Trust me, when I use asterisks in this post, you can be sure that she didn’t.
For those who don’t know, Nadia is a rather unconventional Lutheran pastor. She was the founding pastor of a congregation called “House for All Sinners and Saints” and she’s gone on record saying that ethically-sourced porn is OK. Her Twitter handle is @sarcasticluther and she puts “SHAMELESS af” after her name.
When I first read the interview in which Christian singer-songwriter Vicky Beeching came out as a lesbian (after a substantial performing career in the USA’s Bible Belt), I found myself faced with a number of challenges. Perhaps surprisingly, the biggest one for me related to how she had undergone an attempted exorcism. It had been aimed at converting her sexual orientation from gay to straight and she had been traumatised by this experience.
I wanted to understand why this was the case. (In all honesty, this wasn’t obvious to me.)
Now, reading her recent memoir-cross-apologetic Undivided, where she defends both her gay identity and LGBTQ+ identities in general, I still have questions, but I also have more answers.
And one thing above all is clear to me: this attempted exorcism ought not be described as merely ‘spontaneous prayers that could have undoubtedly been worded better’. This is what Peter Lynas said whilst writing for (and on behalf of?) the UK Evangelical Alliance. There is much that can be said about his review, but for this post I’ll focus on just these words. I expect many LGBTQ+ advocates would say these words demonstrate a lack of understanding regarding the nature of the offence that conversion therapy presents to them. I think there is something to that, but what I want to show here is how these words fail to take responsibility for beliefs and practices around healing ministries.
I’ll try to explain my reasons as gently as I can.
CONTENT NOTE: This post describes Vicky’s experience of attempted conversion prayer (using details from her book) as well as some anti-LGBTQ+ rhetoric.
(Sheet music from a Cadiz by Isaac Albeniz – complete with notes from my piano teacher)
Imagine being in the following situations:
Having a job where the boss of the adjacent department is someone who discriminated against you (and you’ve never received an apology).
Being amongst extended family members who habitually crack jokes that demean an aspect of your identity (and you’re never sure how serious the jokes are).
Attending a church where the pastor has systematically tried to silence your voice.
Being in an online forum where its leader states repeatedly and categorically that an experience of yours did not, and does not, happen.
They’re pretty uncomfortable scenarios. The question is: what do you do with them?
At work, my boss is someone who is streets ahead of me in terms of professional experience, organisational nous and interpersonal savvy. I can barely begin to go into how much I’ve learned from him. When it comes to music though, it’s the other way round. Aged in his fifties, he’s struggling through his grade 3 guitar exam, whereas I had grade 8 piano when I was fourteen. It makes for some interesting conversations.
Recently he described how his teacher had been telling him that part of the art of being a performer is learning how to handle an uncomfortable environment. What do you achieve if you go into the room and the lighting is a bit off and someone’s looking at you awkwardly and you say you just can’t play?
It’s the one-year anniversary of the Orlando Pulse nightclub shooting. It wasn’t long after 12 June 2016 that I spoke publicly about how I wanted to react in the wake of it. I didn’t go into whether or not I thought gay marriage and LGBT relationships were right or wrong; instead I challenged other Christians on how they were going to react.
I was nervous, but I did it, and afterwards I was glad that I did it (as were a number other people, judging by the feedback I received). I also posted a shortened version on this blog. I incorporated considerations about Brexit (which happened two weeks later), though the original was written with only Orlando in mind.
And for a while now, I’ve wanted to share the full version, and the first anniversary of the shooting seems as appropriate as any other time.
That said, I am now stepping way, way outside of my comfort zone.
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