Article
Creed
Trauma
5 min read

The tale as old of time

There is no fairy tale that resolves the suffering of women but there is another side to their stories of violence and anonymity, Claire Williams reflects.

Claire Williams is a theologian investigating women’s spirituality and practice. She lecturers at Regents Theological College.

A woman stand beside a busy road with her back to the camera. There is a red sky behind her.
Florian Kurrasch on Unsplash.

From accusations of assault by celebrities to the murder of a teenage girl on her way to school, and the discussion on television about feminists and their lack of sexual appeal - we have had our fill recently of stories of trauma and violence done to women. These events are brutal interruptions to the lives of women whose futures have been changed, or even stopped, by these terrible acts. It is a story that we read in the news over and over again. It is also an ancient story, of women who are mistreated by men in power over them. It is the tale as old as time. When we tell these tales we anonymise women, for their own safety and privacy, but also lock them in their story. They are, to those of us who read or hear about it, only the tale of violence, we see nothing else about them. 

We feel our past in our bodies, we know ourselves in our bodies and these feelings and knowings are part of the story that remains untold, that isn’t understood by anyone.

In one ancient telling in the bible, there is a story of a woman who is cast out, loses position, hope for the future, agency and bodily autonomy. Hagar was a servant in the household of Abraham. She was an Egyptian and therefore of a different ethnicity to her master and his wife, Sarah. Hagar, as a servant, had no choices in life and would do what she was told and when she was told. So, when she was commanded to become Abraham’s wife in order that he might have a child with him, she had no choice at all. In the bible there are stories of   Abraham and his quest to have a son and heir when Sarah had been unable to conceive. It was indeed Sarah’s idea. Hagar underwent what could be described as a rape and a forced pregnancy. Perhaps unsurprisingly, Sarah and Hagar fell out. Hagar ran, she ran away from the cruel treatment of her mistress and the violence perpetrated unto her and into the wilderness. Hagar’s story is out of time with our own stories yet has resonance none the less because of her subjugation, the violence done to her and the consequential fear and fleeing. I wonder as I read about Hagar, what she looked like, or what her other stories are. What did she like to do? What had her hopes been for the future? But Hagar, is unseen by us, apart from the stories of violence done to her. She is unseen like the women who are raped, stabbed, assaulted, followed, catcalled, touched and upskirted. For these unseen women, stories are all that remain. 

Telling of the stories isn’t enough. With violent, or emotional, trauma, words are only some of the message. We feel our past in our bodies, we know ourselves in our bodies and these feelings and knowings are part of the story that remains untold, that isn’t understood by anyone. The loneliness from being unknown is bone deep. That nobody understands is part of the horror of the traumatic injury. Hagar’s story does help us here. Twice Hagar runs into the wilderness to escape from Sarah and Abraham. When she is there, she expects to die. After her child is born, she puts him away, under a bush, so that she doesn’t have to watch him die. Both times in the wilderness, where she is away and hidden there is one who sees her and acts. The first time, so the bible tells us, Hagar is met by an angel in the wilderness who speaks to her and promises her the future we assume she has lost, Hagar identifies her visitor as from God – the first person to do so. In response to God seeing her, she sees God. She is not anonymous to God. The second time, as she lays down to die, God provides not only hope but water and we learn that she has a future with her son.  

The story of Hagar is told still, as a reminder that God sees. This does not mitigate the harm that is done to women, nor use it for higher purposes. However, we only know a small part of these stories, these terrible accounts of horrors, God holds their entire stories together.  

There is no fairy tale that resolves the suffering of these women in the stories, either the ancient story or the most recent ones. Male violence against women is repetitive and so far, little abating it. I do not offer a solution to why these terrible things happen to women, why they continue to happen even though millennia separate Hagar from today. Nonetheless, despite the uncertainty that surrounds the traumas wrought upon women in situations such as above there is another side to the story of violence and anonymity, that is of a hope in God who sees the women and offers a future.  

That future we discover does not retreat from the misery of the past but moves on through it. 

These women are not unknown, their stories, which are acts of resistance to the violence that was perpetrated upon them, are known to God. With telling and retelling of the stories of women we testify to their story and acknowledge it. There is hope in this situation, a promise that those who come to Jesus can find rest, that they will not feel condemned or ashamed in his presence and that there is the possibility of hope and wholeness in the face of such devastating actions of humanity. This can seem trite and it does not offer a sticking plaster solution to the problems of great trauma, but rather a God who, in Jesus, is a witness to the pain and the hurt and one who offers peace, who sees the women at the heart of these stories of terrible violence and who knows them. The promise of the future is that every tear will be wiped away, that when the final plans of God are enacted on earth there will be a world where there is no longer violence and the long-lasting pain, injury and horror will be removed.  

The God who knew Hagar and the anonymous women who report sexual violence today, also knows the end of their story, and that end is hopeful, even if it doesn’t feel that way yet. Ultimately, God intervenes for Hagar. She is cast out, she expects she will die and potentially see her son lost too. Hagar, who names God is in return named by God, ‘Hagar’ he says as he ushers her into a future,  

‘get up, hold your boy, I will make him into a great nation’.  

That future we discover does not retreat from the misery of the past but moves on through it. We leave Hagar with her fully grown son, both thriving in the wilderness with Hagar arranging his marriage. I picture her, a matriarch in her own right, with her son, not overcome by violence anymore. 

 

This reading of Hagar is from the work of Dr Eve R Parker in her forthcoming contribution to ‘Theologies from the Inside Out: Critical Conceptions of Pregnancy and Birth’ ed. Karen O’Donnell and Claire Williams, SCM forthcoming 2024. 

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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