In the hushed darkness, first century Jews crowd together awaiting the first light. They clutch the hands of children or baskets of goods and put their turbaned heads together to speak in barely audible voices. To one side, a merchant checks his cart just as a small woman steps onto the rim of the stone well to see over the many heads before her. From her vantage point, she watches light spill onto the streets of Jerusalem and witnesses one tiny section of the city dramatically change from deserted to bursting with jubilant activity and noise. The tune of the song lifting from hundreds of voices is familiar to the city, but the words are sung in English, catering to another crowdthose who are gathered to witness the annual Atlanta Passion Play.

     For three weekends each year, the stage of the Atlanta Civic Center in Georgia is transformed into first century Jerusalem, the Sea of Galilee, the upper room, and finally, Golgothaplaces hauntingly familiar to Christians as the backdrops for Jesus' brief three-year public ministry. The play draws believers and nonbelievers from all over the southeastern United States and often from the far reaches of the globe. "The Passion Play is a part of our world-wide ministry that starts in Atlanta and never stops," says Dr. Stanley.

     In 1976, John Glover, the minister of music for First Baptist Church of Atlanta, rented the Civic Center to present Bill Gaither's Alleluia. No admission was charged, and nearly 2,000 people had to be turned away, including busloads coming from nearby Alabama. The production was so successful that the church performed The Life of Christ pageant on Good Friday of the following year. An annual tradition was born, and the play was re-named Atlanta Passion Play in 1980. The enthusiastic crowds hoping for tickets clearly demonstrated the need for a passion play in this corner of the world, but how would one church shoulder the burden of such a colossal undertaking?

     Over time, volunteers have caught the vision for presenting the Gospel message on stage and have risen up to share the responsibility for re-creating the Atlanta Passion Play each year. "The volunteer hours that go into this production probably number into the tens of thousands," says Barbara Hall, director for the play. More than 700 people are involved in the show each year. This mighty company is a microcosm of the body of Christ: just as believers use spiritual giftedness for the common good (1 Corinthians 12:7), here members each use their gifts and talents to advance the production. Jerry Cloer has lent his powerful singing voice to several characters, most recently Peter. Marvin McCollum uses his construction know-how in the props departmenthis cleverly designed tree perch built for Zaccheus in 1996 has returned to the stage often. The realistic-looking steps and rocks in most of the scenes have to be re-painted each year, and Heather Phipps plus a host of others participate in that endeavor. Wardrobe designers get sewing machines humming long before the cast tread the boards at the Civic Center, but on production nights, they gather in the costume room for last minute fittings and adjustments. Audio personnel are tracking speaking actors all over the backstage area to tuck microphones behind their ears or into their hair while makeup artists snag thespians for final touchups.

     The volunteers do not work for hours, weeks, or sometimes even months in order to see their name in the programthere is hardly room for the few who do receive that honorand it is not to snatch their 15 minutes of fame since fewer than half of them appear on stage. Every participant works for the simple joy of seeing the Easter story come alive for an audience as it does for the volunteers themselves.

     If the volunteers are the body of the Atlanta Passion Play, then prayer is its lifeblood. "The whole production is based on prayer," says Glover. "Without prayer and prayer support, the Atlanta Passion Play could not be." Hall agrees. "I am convinced that prayer is the single most important thing that goes into the play," she says. "Watch someone who is very quiet, very shy, and see this exuberant character come out of themthat is the work of prayer." A special red-curtained corner of the backstage area becomes a prayer room, complete with anointing oilthroughout the duration of the play, it will be used by a Roman soldier, an angel, a makeup artist, and many others who go before God on behalf of the production staff and, most importantly, the audience. Every year, a prayer chairman organizes a team to pray over all 5,000 seats in the Civic Center.

     If there is one shining example of the power of prayer related to the play, it has to do with the actor playing Jesus. The casting committee is extremely selective about the man who will represent the Lord. Only the parts of Jesus and Judas require interviews in addition to auditions. Few actors are willing to accept the lead role, some because they feel unworthy and others because the part guarantees satanic attack. In a step of faith, the production staff made the unusual decision never to use an understudy for Jesus, and God has rewarded their trust for 27 years: an understudy has never been needed.

     A special hallmark of the Atlanta Passion Play is that each year the production changes except for a few key scenes like the Crucifixion, Resurrection, and Ascension and a new theme emerges. In 2003, the theme was spiritual blindness, and 2004 will showcase forgiveness. This flexibility has allowed for some unusual events. The year the production opened with a wedding, two actors portraying the bride and groom actually said their vows as Glover, dressed in a rabbi's garb, married them. The audience never knew they had witnessed a real wedding. Love stories seem to abound. There has been an on-stage proposal during a busy street scene, and then there was the year that Jesus fell in love with a shy, humble Hebrew girlthe actor playing Jesus, that is. "It was the first time we ever had Jesus to marry," Glover says, smiling.

     Glover recalls one more anecdote with hesitant amusement. He insists upon professionalism and is adamant that the cast regard their dress rehearsal as a bona fide performance. During a final rehearsal, all was going smoothly until the Ascension scenesomeone had smuggled an extra prop onstage, and one of the actors took to the heavens in a cowboy hat.

     From the nervous actors auditioning for parts in October to the chorus learning music in January to the ushers guiding audience members to their seats in April, the Atlanta Passion Play is peopled with willing ministers. While the folks answering phones in the First Baptist Church Ticket Office may never share the Gospel message outright with a caller, their faith is in clear view through their participation. The play goes forward every spring because of the contributions and prayers of Christians who have a heart to show the saving grace of Jesus Christ through drama and music. Truly, the volunteers and prayer warriors for this year's productionand all the years beforehave found a unique way to carry out their Great Commission responsibilities.

Tracy Hillwig

 The Atlanta Passion Play Box Office can be reached by phone at 770-234-8400.