Editor's pick
Creed
Easter
Resurrection
6 min read

Easter tells us that we are missed

Our best relationships hint at what we are really missing.

Nathan is a speaker and writer on topics related to faith, life and God. He lives near Seattle, Washington. His writing is featured frequently in The Seattle Times. nathanbetts.com

A persons stands, holding a net curtain aside to gaze out.
Max Harlynking on Unsplash.

I never thought that God could miss me, but recently I’ve begun to wonder if he does.  

Is there a person in your life that you just love spending time with? Maybe this person is a family member, a friend, colleague, neighbor, or maybe your spouse.  As time has gone on in your life you now realize how special that person is to you. You think of the ease, the peace, the low heartbeat, lightheartedness, and depth of feeling that you’ve experienced all in simply being with that person and spending time with them. 

As you think of that person, can you remember a time when there was a longer-than-usual gap between your visits? Maybe weeks, months, years. What was it like when you met up or talked to this special friend of yours after the hiatus? What did it feel like? 

I have someone like this. His name is Andrew. He is my cousin, but I’ve generally thought of him as the brother I never had. We grew up together separated by only one year in age. My childhood is filled with memories of playing with him in different sports, games, wrestling, arguing, disagreeing, pranking each other, late-night fast-food runs, (which I no longer recommend), and eventually working long shifts on low sleep together. We were in each other’s wedding parties. We have experienced a lot of life together. 

As time has gone on, and I now live on the other side of the continent, we have not been able to see each other as often as we would like. 

But recently, he had a special work trip close to the Pacific Northwest, so he made time for a short stay with us near Seattle. On one day, I took him out for street tacos near the ocean and we were able to get some unhurried time to catch up. Throughout his visit I just kept thinking how much I had missed spending time with Andrew. He and I both expressed as much.  

If you have just one of those friendships in life, you have hit the ball out of the park. And if you have two or three of those friendships, you’ve hit a grand slam. These friendships are unique. 

For me, one of the most striking and poignant questions throughout the Bible is when God asks Adam “Where are you?”

As a theologian by education, I often think of these relational traits when it comes to God. Fundamental to Christian belief is that we can, despite how infinitely different he is to us, relate to God. There is a great deal of mystery to this idea, to be sure, but I’ve wondered long and hard what this looks like. In the long history of Christian thought, scholars, pastors, and theologians have pointed to Jesus Christ to help make sense of this massive, otherworldly concept.   

The Hebrew Scriptures reveal what God is like in creation, miracles, acts of grace, displays of power and many other aspects. But when we are searching to understand how God relates to us as human beings, it is Jesus Christ who gives us the primary lens through which we can understand that quality of relationship. The interactions he has with his friends, leaders, children, and teachers are especially revealing. The way he heals people, enjoys meals with others, gives time to the outsiders, and speaks to the uptight religious types is all very instructive in how God relates to us as human beings.  

Over the last few years, I have become increasingly interested in the questions that Jesus asks people. Jesus’s questions reveal to us what he is like.  

“Why do you call me good?”  

“Who do you say that I am?”  

“Whose image is on this coin?”  

“Will you also leave me?”  

“What do you want me to do for you?”  

These and many more have caused me to explore further the questions that God asks people because maybe his questions, sometimes more than his statements, reveal what makes him different. 

For me, one of the most striking and poignant questions throughout the Bible is when God asks Adam “Where are you?” Since childhood I’ve wondered what God was doing in asking that question. God was not asking a geographical question; it’s not as though his internal GPS was confused in the garden of Eden. But if not a geography question, was God then playing an intellectual game with Adam and Eve? Perhaps, but that is increasingly doubtful, given the enormous stakes in that narrative (brokenness had just entered the world) as well as the message we read throughout the rest of the Bible: God takes people seriously. 

Recently I wrote to my friend and leading Old Testament scholar Bruce Waltke to see what he thought about God’s question to Adam. Perhaps you’ll find an excerpt of his answer as enlightening as I have: 

The omniscient God is not asking because he does not know. He is asking a real question -- this is not a charade -- to show his involvement with Adam--both an historical and archetype of humanity -- to provoke him to engage with him in dialogue. In short, God misses his fellowship. 

God is asking Adam where he is because he misses him.  

Waltke’s answer to my question makes God’s question to Adam into a sign of his love for Adam, and he goes further to explain that this dialogue is “an historical and archetype of humanity”.  If nothing else, it means that this is the way in which God views his relationship with us. God enjoys being with us and interacting with us. And when the relationship grows cold, he misses us. 

Could it be possible that when we move away from God, he notices? He misses us? 

The British writer Julian Barnes begins his poignant memoir Nothing to Be Frightened Of with the words, “I do not believe in God, but I miss him.” Those words set the tone for a book in which Barnes writes about his complicated and fraught relationship with the transcendent. In his book, Barnes expresses his curiosity about what God is like. And amidst the deep and rich thoughts woven throughout the book, the reader never encounters the idea that while Barnes misses God, it might also be true that the God on the other side of the equation misses him.  

To be honest, in all my thinking about God, it is just now that I am beginning to ponder the thought that when I move away from God on some level, he misses me. Could it really be possible that the God of creation misses me?  

Could it be possible that when we move away from God, he notices? He misses us? God’s question to Adam, punctuated by Christ the Lord restoring the severed relationship through his death on the cross and resurrection, demonstrates God’s great capacity to love us.  

As we approach Easter, wherever we might find ourselves on the spectrum of belief: whether we attend church, synagogue, temple, mosque or none; whether we have faith -- a little faith, beleaguered faith, or no faith -- the story of God asking that penetrating question to Adam and ultimately coming to us in Christ is the supreme portrait of what God is like. Easter reminds us that the nature of God’s love is such that when we walk away, God feels that loss, he misses us, and he comes looking for us. 

Review
Creed
Education
Theatre
Weirdness
8 min read

Why I was wowed by this five-hour outdoor drama

Wintershall’s re-telling of an ancient story enthrals a sceptic

Rachel is a reader and writer, a coach, and an educator. 

An outdoor theatrical setting shows Jesus with a basket.
Wintershall.org.uk

Were I to write a recipe for disaster, it would look something like this: 

  • Gather a large cast of mostly amateur volunteers and a few professionals 
  • Include everyone from a baby to a 90-year-old man, 1 donkey, 2 horses and a flock of sheep 
  • Create an outdoor venue with no seating and no shelter from the elements 
  • Welcome a mixed audience of around 1200 school children and the public every day for five days 
  • Present a five-hour dramatisation of the entire life of Jesus from 10am to 3.30pm 

I am delighted to record that contrary to our assumptions, the above proved to be a remarkable recipe for triumph. Accompanied by my 18-year-old son who, as an actor and teenager, was sceptical, I’ll admit that expectations were not high as we embarked on a 2-hour drive to review The Life of Jesus 2025 at Wintershall Estate. The same drive home was rich in deeply moved and unexpected conversation about the incredible phenomenon just experienced.  

Hearing superlatives from me is as unlikely an event as watching a rare desert flower bloom in a decade of drought. And yet, I have nothing else to offer in this case. I have viewed much professional and amateur theatre - Wintershall is like nothing I have witnessed before.  

Perhaps what makes it so different is the intent of those who continue to create it. In 1989, Ann and Peter Hutley decided to open their beautiful estate to visitors interested in hearing about the life of Jesus. They began with a nativity in their new barn before Peter wrote a longer script for the millennium celebrations about Jesus’ ministry. It is tangible in the air that this is a monumental work of love and passion not profit-making. 

On arriving, we met Ann and her daughter, Charlotte, who has taken over the enormous responsibilities as Wintershall’s producer. With consistent warmth, welcome and energy, Charlotte took us to join the cast as they received exacting professional notes from the director, Ashley Herman. She invited us to join hands with the cast in prayer. ‘No questions asked, it doesn’t matter what you believe, join hands and pray with us. Everyone is welcome here!’ she said. This is the truth about Wintershall in a sentence.  

As a teacher of 23 years, I am sorry to admit that I had never heard of Wintershall. I would likely have baulked had someone suggested that I take my class on a daytrip of this format. My assumption would have been that they would hate it, they would be hot, bothered and bored, and I would be very stressed as a result. How foolish am I!  

We visited on a day when the audience consisted of roughly 700 captivated school pupils, ranging from 7 – 18 years, and 300 members of the public. The previous few days had been exclusively for schools and had welcomed in the region of 1,200 pupils on each day. Looking for honest opinions, I asked an adult sat near me why she had brought her class. ‘Oh, I’m not a teacher,’ she said, ‘I volunteer to come on this trip every year because it’s the best thing I’ve ever seen. It just gets better and better!’ Clearly my prejudice was misplaced, and this is the very important issue.  

My years in education mean that I have watched far too many five-year-olds in wonky tea towels, shouting at an inn keeper while the audience laughs. The life of Jesus has taken on a twee familiarity akin to Jack and The Beanstalk or Cinderella. It has become the stuff of folklore and fairytale when it is anything but. We have distorted it from the contemporaneous, historical recount that it is and Wintershall magnificently sets this straight.  

Regardless of faith or belief, there is great damage done in forgetting to view history as reality. Those who work in schools and churches must remember that today’s children perceive the millennium celebrations as ancient history. They cannot fathom time outside of their own existence. All stories from the Egyptians to Princess Diana seem to them to be works of fiction because they must be imagined. Test this, as I have done, by asking them about a recently retired Roger Federer and observe their blank faces! 

Even for me and my son, there came a meaningful realisation that this is not merely an all-too-familiar children’s story retold every year at Easter and Christmas. This is the biography of a man whose contemporaries were prepared to die in order to record the naturally inexplicable things that they saw him do. This first lands around 15 minutes into Act One when Wintershall presents Herod’s slaughtering of the children as the horrific and barbaric act that it was, with none of the usual soft-soap. Not gory or gratuitous in any way, it hits hard, just as it should, since, as Charlotte passionately reminded me, this is still happening in the world today! The same hit came from the disturbing noises made by the man suffering from demons, the size of the rocks about to be hurled at the woman accused of adultery and the often-omitted audible gasping of three men dying by crucifixion. These should not be benign imaginings, they are barbaric and torturous reality, and we do humanity no favours in desensitising ourselves.  

Wintershall is clear that their production is for those aged seven and above because this is no fairytale. I would argue that this is precisely why they are able to keep children captivated through five hours of intense viewing. They have achieved the perfect balance of hard-hitting realism and enjoyment.  

After stretching your legs, Act Two is simply glorious. We forget that Jesus’ ministry took the form of a pilgrimage delivered while walking with people in nature. He spoke on paths, hillsides and lakes which Wintershall authentically recreates. There is nothing to match the experience of sitting on a hillside next to a lake as the character of Jesus delivers the Sermon on The Mount whilst looking you straight in the eye. For the first time, I inwardly understood how a small number of loaves could literally feed a very large crowd because I experienced it first-hand. Quite simply, without needing to be told, you share. You break bread to ensure that those beside you have some and, in so doing, realise that there was always enough for everyone. This precious memory will endure as reality, not magic. 

Act Four depicts the crucifixion. Seeing is believing. Again, this stuff of children’s stories is anything but. The logistics of this scene are extraordinarily well executed, and, for the first time, I was struck by the gasping of these men as they spoke. This was no polite conversation about meeting in paradise, these were their final words during their slow and painful death. The act is completed by the inexplicable and somewhat mystical reappearance of the risen Jesus in a different location beside us. I still have no idea how they did it, but it impacted powerfully.  

So, what then were the negatives? Any trustworthy review must be balanced.

"There is nothing I have ever seen that I have more wanted to be a part of. Compared with this, I have never seen anything more meaningful."

Remember here my aversion to praise and my teenage son’s initial scepticism. Remember this seeming recipe for disaster and my remit to look critically.  

After digging deep, we came up with two very minor concerns that are, in truth, little more than a matter of opinion or preference.  

The first relates to the Angel Gabriel. In a production that so brilliantly undoes the fictionalisation of this biography, one could argue for a more nuanced representation of this angel. Perhaps not a female wearing the sparkly halo and white wings that fits with the wonky tea towels in school halls. Perhaps the name of Gabriel is sufficiently recognisable to permit something a little more daring? 

The second relates to Act Three. Undoubtedly, the vibrant warmth, variety and personally immersive nature of Act Two makes it a very hard act to follow. Act Three is disadvantaged from the outset by occupying what we teachers know to be toughest gig of the day - that slot immediately following lunch. There is usually some social altercation to sort, attention needing to be refocused, and blood sugar levels fluctuating left, right and centre. At this time of natural siesta, you either accept a lull or bring your largest dose of entertainment. In this case, Jesus enters Jerusalem, overturns the tables in the temple, heals a leper, is betrayed by Judas, prays in Gethsemane, is arrested and tried before Pilate. Essential but not exceptionally entertaining, as the story goes. At around the 60-minute mark in, Jesus is stripped and whipped causing the children around me to literally sit up again and re-engage before Act Four. Perhaps, on reflection as I write, this is just as it should be.  

And that is it, the sum of my critique. Believe me, my expectations are unforgivingly high; I struggle booking a holiday because the likelihood is that I will be disappointed. If there were critique to deliver, then deliver it I would.  

To the contrary, it is unusually delightful to leave somewhere with the desire to do everything in my power to support a truly exemplary endeavour. It is to my detriment that I have been so ignorant of Wintershall for the last 25 years; I regret the thousands of children that I did not ever take to see this exceptional phenomenon.  

I urge you to do better than me, to make up for my short fall.  

Go!  

Take everyone you can!  

Make the journey!  

Enjoy the day in glorious natural surroundings!  

Show your pupils that even a flock of sheep can be perfectly well-behaved.  

Rewrite the soppy fairytale as the gritty, historical biography that it is.  

Replace the over-familiarity and wonky tea towels with a real-life experience in how to share what we have so that all might be fed.  

Reimagine the mad magician as a man who loved the low, lost, and lonely, and will look you in the eye to remind you that you are blessed.  

Reset the polite chat about paradise as the last conversation of a man gasping to share his love as he was killed for upsetting the authorities.  

Remember that the infants are still being slaughtered and the women are still being stoned.  

Reawaken to the fact that this is no fairytale. This is the message that the world needs.  

As my son put it, ‘There is nothing I have ever seen that I have more wanted to be a part of. Compared with this, I have never seen anything more meaningful.’ 

Wintershall, one and all, you do not need to take a bow.  

Stand tall and keep going.  

What you are doing is superlatively necessary and remarkable! 

Bravo! 

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