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Student Abigail Tschetter reflects on The Fantasticks

Student Abigail Tschetter reflects on The Fantasticks

by | Mar 15, 2021

Ashley Huseby (Hucklebee, the Boy’s Mother) and Abigail Tschetter (Bellomy, the Girl’s Mother) listen carefully for eavesdroppers.

Reflection on The Fantasticks

by Abigail Tschetter

I love the theme of The Fantasticks, encapsulated by a line from the song “Try to Remember:” “Without a hurt, the heart is hollow.” The Fantasticks is a show about learning and growing through difficulty. Its main characters, Matt and Luisa, learn that the world is not what they expected, and then they take that newfound wisdom, as heartbreaking as it is, and look at it in a hopeful light. Their story has made me cry more than once, partly because it is a little sad, but mostly because it is beautiful.

Yes, the world is more than just pain-free excitement, but understanding that makes the beautiful moments stand out that much more.

That’s why it feels so special to be a part of this show at Calvary University, where I’ve had the chance to learn this lesson for myself. College is a formative time for everyone in one way or another, and that is undoubtedly true for me. I can relate to Luisa, the hopeless romantic, and to Matt, who’s sure that whatever’s around the corner is exactly what he’s dreamed of. It’s at Calvary that I really began to relate to their journey.

This is my third year at Calvary, and every semester has carried some kind of expectation that was not met in the way I anticipated. I have struggled with loneliness and anxiety, disappointments and discontentment, insecurity, frustration, and plenty of other things in between. Yet I have also found community and friendship, peace and joy. In particular, my involvement in Calvary Theatre has taught me about service, confidence, humility, and worship, on and offstage. Each semester at Calvary has grown me and taught me something about myself, my relationships, the blessings in my life, and most importantly, the unfailing goodness of God.

It is a true blessing to have the chance to bring this show to life at a school and in a department that has contributed so much to my growth. It feels like coming full circle to share what I have learned—and will surely continue to learn—with the Calvary community that helped me learn it.

Bellomy, a fastidious gardener, waters her thirsty little peppers.

The Fantasticks: Hurt and Growth

The Fantasticks: Hurt and Growth

by | Mar 10, 2021

Matt (Adam Weeks) and Luisa (Rebekkah Harms) discover a deeper truth about love in ‘The Fantasticks’.

The Fantasticks: Hurt and Growth

by Logan Hiskey

In The Lion King, the characters Rafiki and Simba discuss change and facing past hurts. Rafiki then whacks Simba on the head with his stick. Confused, Simba asks why Rafiki did such a thing.

“Doesn’t matter, it’s in the past,” Rafiki says.

“Yeah, but it still hurts,” Simba replies as he rubs his head.

“Oh yes, the past can hurt,” Rafiki answers. “But the way I see it, you can either run from it, or learn from it.” Again, Rafiki swings his stick at Simba, but this time Simba ducks out of the way.

In this scene Rafiki teaches Simba a very valuable lesson about hurt. It exists, whether it is past, present, or future.

Likewise, this idea is one of the predominant themes of the show. In the opening song “Try to Remember,” the narrator, El Gallo, defines the theme when he says, “Without a hurt, the heart is hollow.” These words are best exemplified by the two main characters, Matt and Luisa, and their journey through the play. They start as young, foolish, and myopic lovers so engrossed in their fantasies and idealization of romance that their parents label them “fantastic!”

Spoiler Warning: Click to Read

           In Act One, everything is practically perfect and idyllic: the moonlit sky, the thrilling relationship hidden from their “feuding” fathers (or mothers), the rescue from an abduction, and then happily ever after.

           However, it does not end at that moment, for The Fantasticks is a coming-of-age story. At the beginning of Act Two, El Gallo dispels the moonlight and says,

           “life never ends in the moonlit night;

           And despite what pretty poets say,

           The night is only half the day.”

           Matt and Luisa must learn and mature the hard way. The harsh sun brings to light their flaws and differences, and the two lovers become disappointed that the delights of romance do not last. After they realize their dissatisfaction in each other, they separate and strive to satisfy their naïve desires elsewhere. And here, with their separation, the hurt begins. They find what they were looking for, but it only brings a new onset of pain for both Matt and Luisa.

           But there is good news. Rafiki’s wisdom rings true. Through their hurt, they are no longer hollow, for they have learned and grown from it. After their reunion, their relationship matures. They admit to their foolishness and mistakes, forgive one another, and begin to love unselfishly.

           The idea of growing through hurt may seem unfair or confusing because it is. El Gallo speaks on this and calls it a “curious paradox.” He likens it to the changing of seasons when he says, “Who understands why Spring is born out of Winter’s laboring pain? Or why we all must die a bit before we grow again.”

          This theme is one reason why The Fantasticks is such a universally-loved play and is the longest-running musical in the world. Anyone can find a bit of themselves in Matt or Luisa, for everyone has experienced pain in some fashion, but like Rafiki says, it depends on what one does with it. And in accordance with biblical truth, Scripture says that there is an appointed time for everything, which includes seasons of love and laughter, but also of hurt and sadness (Ecclesiastes 3:1–8). So it should not come as a surprise when suffering, trials, and hurt come along (1 Peter 4:12). But the Apostle Paul offers some encouragement when he says that through Christ, times of hurt and tribulation bring about perseverance, proven character, and hope (Romans 5:3–4). Therefore, The Fantasticks offers a wonderful reflection of these truths that hurt is bound to happen, but there is hope that growth can follow.

Logan Hiskey plays Mortimer, the Man Who Dies, along with being dramaturg for Calvary’s production of ‘The Fantasticks’.

23rd Annual Calvary Classic Golf Tournament Registration

23rd Annual Calvary Classic Golf Tournament Registration

by | Mar 10, 2021

23rd Annual

Calvary Classic

Golf Tournament

June 7, 2024

Details

  • Format: 4-person team scramble
  • Tournament is open to the first 36 teams.
  • Entry fee is $125 per player.
  • Entry fee includes Lunch prior to the start of the event and “Awards Dinner.”
  • Registration begins at 10:30a.m. and shotgun start begins at 12:00p.m.

Fill out my online form.

Langston Hughes and Religion

Langston Hughes and Religion

by | Mar 1, 2021

If the churches Hughes attended were less focused on numbers of “converts” and numbers of dollars, perhaps they would have seen a searching soul.

Amanda Harman is a student at Calvary and is from Colorado Springs, CO. She loves to play her violin and entertain friends with her dry sense of humor. 

by Amanda Harman

 

February was Black History Month, and one can scarcely glance at black history without seeing the fingerprints of Langston Hughes. He is best remembered as a poet, but he also wrote novels, plays, essays, memoirs, children’s stories, not to mention influencing the movement that cemented black influence in modern culture. He was at the forefront of the Harlem Renaissance—a resurgence and celebration of black culture through music, writing, and art centered in the New York City neighborhood that inspired its name (“Langston Hughes”). It is tragic that such a great man with such a heavy influence on society was not a believer, so it is imperative that the modern church learns from the mistakes that drove him away.

Hughes spent part of his childhood in Lawrence, Kansas. There, his foster aunt took him to a Black Church for a revival when he was about twelve. Several children sat on a bench close together, and as the service went on, the others stood up one by one and approached the pulpit, declaring Jesus as their savior, until only Hughes was left (Oates). The congregation begged and prayed for him. He did finally give into the pressure and get up, but he felt like he had “failed to see Jesus” and, therefore, believed he had a forsaken salvation (Oates).

This early experience led to a general distrust of religion and its pressure to keep up appearances. As a man, Hughes was able to travel the world to places like Mexico, Cuba, and the Soviet Union (Oates). His travels opened his eyes to the major problems with American Christianity (Oates). In one of his most controversial poems called “Goodbye Christ” Hughes wrote:

“The popes and the preachers’ve

Made too much money from it.

They’ve sold you to too many

Kings, generals, robbers, and killers.”

 

The poem criticizes the commercial nature of Christianity in America, which made religion an impediment to society rather than a vehicle for God’s grace—an exploitation rather than a salvation (Piper).

The American church’s capitalistic focus on empty professions of faith for profit rather than sincere repentance from love impacted his view on Christianity for the rest of his life (Oates), and it is heartbreaking that Hughes is likely not in heaven. But his insight in this area can still be used to further God’s work here on earth (Piper). If the churches Hughes attended were less focused on numbers of “converts” and numbers of dollars, perhaps they would have seen a searching soul, one wanting the truth and finding only empty religion. Maybe they would have reached out to Hughes in love, answered his questions, and led him to a true saving knowledge of Christ. After all, “Your love for one another will prove to the world that you are my disciples” (John 13:35 [NLT]).

This is the lesson modern churches and believers must take from the life and work of Langston Hughes. Our conduct should invite others in with love, not repel them with disgust.

_________________

Works Cited:
“Langston Hughes.” Biography.com, A&E Networks Television, 29 Jan. 2021, www.biography.com/writer/langston-hughes. Accessed 22 Feb. 2021.
Oates, N’Kosi. “Religion in the Work of Langston Hughes.” Black Perspectives, AAIHS, 12 June 2018, www.aaihs.org/religion-in-the-work-of-langston-hughes/. Accessed 22 Feb. 2021.
Piper, John. “The Tragedy of Langston Hughes and a Warning I Will Heed.” Desiring God, 2 Feb. 2008, www.desiringgod.org/articles/the-tragedy-of-langston-hughes-and-a-warning-i-will-heed. Accessed 22 Feb. 2021.