40 Days Of Broadway – Spring Awakening

In 2006, singer/songwriter Duncan Sheik, who was made famous by his 90’s alt-pop song, “Barely Breathing,” brought his concept album, “Spring Awakening,” to life on Broadway. At the time, it starred a young cast and a who’s-who of what would become some of the most successful stars in musical theatre, including Lea Michele (Glee), Jonathan Groff (Frozen, Hamilton), and John Gallagher Jr (American Idiot).
The show, set in a strict, religious private high-school in late 19th century Germany, explores a number of adult topics that would have been deemed controversial at the time and many that still are in certain spheres today, including puberty, sex, homosexuality, abortion, and suicide. The show begins with Wendla lamenting the fact that her parents never taught her how to handle her introduction to more mature experiences, singing, “Mama who bore me. Mama who gave me no way to handle things, who made me so sad. Mama, the weeping. Mama, the angels. No sleep in Heaven, or Bethlehem. Some pray that, one day, Christ will come a-callin’. They light a candle, and hope that it glows, and some just lie there, crying for him to come and find them, but when he comes, they don’t know how…” By the end of the show, after several of the characters have gone through some life-changing situations, there is a bit of a reckoning, as the cast sings, “I believe, I believe, I believe, all will be forgiven…I believe, I believe, I believe, there is love in heaven.”
In the church (and really, in real life), we have a phrase of people who act, “holier-than-thou,” who are quick to point the fingers at others for actions they deem unethical and immoral. Often, it’s only because this sentiment gives these overly judgmental individuals a false sense of pride, especially when they create compartments in their own minds of what is right and wrong, and then always, somehow, place themselves in the “right” box. Another word for this is hypocrisy. Jesus warned strictly against this way of thinking, especially from a religious context, imploring his followers, “You deceive yourself! First take the log out of your eye, and then you’ll see clearly to take the splinter out of your brother’s or sister’s eye.” (Matthew 7:5). Instead, forgiveness, grace, and understanding seem to be Christ’s consistent message, as Paul reminds us in Ephesians 1:7, “We have been ransomed through his Son’s blood, and we have forgiveness for our failures based on his overflowing grace.”

Dear God, remove our arrogance, hubris, and selfish pride, and instead, fill us with an attitude of forgiveness that extends grace to others as we demonstrate the inclusive love of Christ for a hurting, confused, and broken world. Amen.

40 Days Of Broadway – Legally Blonde

In 2001, rising actor Reese Witherspoon cemented her star status when she portrayed the memorable Elle Woods in the film, “Legally Blonde,” based on a novel by Amanda Brown of the same woods. After reprising her role in a 2003 sequel, Laurence O’Keefe, Neil Benjamin, and Heather Hach took the production to Broadway in 2007 for a major production.
Taking much of the plot from the film, the production tells the story of Elle Woods, an attractive, blonde sorority president, who abandons her aspirations of becoming a fashion designer to follow her boyfriend to Harvard Law School and the hijinks ensue. One of the running themes of the story is that nobody believes Elle Woods will be capable of succeeding at Harvard (aside from Emmett, the teacher’s assistant), based primarily on the way she looks and dresses. This includes Vivian, a snobby, overachieving student and Elle’s romantic competition. This changes in the penultimate song of the show, “Legally Blonde Remix,” as Vivian encourages Elle singing, “Maybe Warner [just] saw a blonde…but I see a woman who doesn’t have to. I used to pray for the day you’d leave, swore up and down you would not belong. But when I am wrong I say I’m wrong and I was wrong about you. So listen up! I see no end to what you’ll achieve…”
You’re probably familiar with the phrase, “don’t judge a book by its cover,” but the lesson is taught repeatedly throughout the biblical narrative, from Jacob receiving a blessing from God and being renamed Israel, all the way through to the many tax collectors and questionable women that Jesus often associated, like Matthew and Zacchaeus to Mary Magdalene and the Woman at the Well. When Samuel questioned whether or not a scrawny shepherd boy named David, the youngest of his family, could really be the next King of Israel, God replied, ““Have no regard for his appearance or stature, because I haven’t selected him. God doesn’t look at things like humans do. Humans see only what is visible to the eyes, but the Lord sees into the heart.” (1 Samuel 16:7)

Dear God, give us eyes to see others the way you see them, looking within instead of relying only on outward appearance, and remembering that all people have been created in your good divine image. Amen.

40 Days Of Broadway – Chess

Most people recognize Benny Andersson and Björn Ulvaeus from the band ABBA and their musical hit, “Mamma Mia!” which was a…fine…musical…but what most people aren’t aware of is the gem of a musical masterpiece they completed in 1984 based on a concept album. With a book by the acclaimed Tim Rice, “Chess,” tells the story of a love-triangle that plays out in the midst of a Chess tournament by an American champion and a Russian challenger at the height of the Cold War. While the original West End production was well received in 1986, the subsequent 1988 Broadway production was a failure, based primarily on significant edits made to the script to prevent the American character from coming across so negatively. However, errors were recognized in this approach, and eventually, these edits were abandoned and the show has gone on to become someone of a cult-classic, including a 2009 live concert version including Adam Pascal (Rent), Idina Menzel (Rent, Wicked, Frozen), and Josh Groban (come on…you know who Josh Groban is…).
By the end of the first act, what was supposed to be a competitive match between two of the worlds best chess players has turned into secret plots and scandals by national leaders attempting to use their champions as puppets in political theatre. Upon finally winning the contest, Anatoly immediately leaves his own country of Russia in protest for their actions, resulting in a heartfelt lament mixed with a proclamation of faith and hope for his homeland. He defiantly sings his heart will never leave his home with the words, “No man, no madness, though their sad power may prevail, can possess, conquer, my country’s heart. They rise to fail
She is eternal. Long before nations’ lines were drawn, when no flags flew, when no armies stood, my land was born. And you ask me why I love her through wars, death, and despair? She is the constant, we, who don’t care. And you wonder will I leave her. But how? I cross over borders but I’m still there now!”
I was listening to the news earlier today, as so many are, as we seek to make sense of this novel coronavirus pandemic, and the dynamic voice of the Rev. William Barber offered this scripture from 2 Chronicles 7:14 in response to a question, “If my people who belong to me will humbly pray, seek my face, and turn from their wicked ways, then I will hear from heaven, forgive their sin, and heal their land.” Now, to be clear, he wasn’t saying we can pray the disease away or suggesting in any way that this crisis was caused by some inherent sinful nature in America. Instead, he was offering a prophetic challenge, stating that the church is now standing in a pivotal moment in the history of our nation, and the church has a unique opportunity to be the body of christ by offering compassion and mercy that people are so desperately seeking and not finding anywhere else, and carve out a different future, not only for this country that we love, but for all of God’s children.

Dear God, give us a courageous, prophetic faith to transform this nation into a land you would be proud to bless. A land of compassion, mercy, peace, justice, faith, love, and hope for all. Amen.

40 Days Of Broadway – You’re A Good Man, Charlie Brown

In 1967, musician and lyricist Clark Gesner debuted a new musical he had created based on the classic comic strip, “Peanuts,” by Charles M. Schultz. The show moved to Broadway in 1971, and has since seen several revivals throughout the decades, including a Tony-Award winning production in 1998 starring Anthony Rapp (“Rent”) and Kristin Chenoweth (“Wicked”).
Originally, I was going to write this devotion on the closing number, “Happiness,” which really would have been a softball as the song basically sings a sermon with lines like, “Happiness is anything and anyone at all that’s loved by you.” Instead, however, I’ve opted for one of the catchier songs in the show, “My New Philosophy,” where Sally and Schroeder sing about…well…new philosophies. Sally sings, “Some philosophies are simple: ‘Man does not eat by bread alone.’ Some philosophies are clear: ‘Leave your message at the sound of the tone.’ Some philosophies pick and choose, deciding what goes in it. Some take a lifetime, Mine take a minute.” Schroeder replies, “But, Sally, anything that takes only a minute can’t be very lasting. For instance, Beethoven took over two years to complete his brilliant Ninth Symphony,” to which Sally quickly rebuffs, ‘No!’ I can’t stand it! ‘I can’t stand it!’ I like it! It’s like a guarantee. My new philosophy!”
According to Google, the Oxford Dictionary defines philosophy as, “a particular system of philosophical thought.” In my United Methodist tradition, for example, we are guided by the “General Rules” of John Wesley, which teach to do no harm, do good, and attend upon the ordinances of God daily. Of course, even that philosophy was really rooted in the philosophies of Christ, who taught his disciples to, “You must love the Lord your God with all your heart, with all your being, and with all your mind…and…You must love your neighbor as you love yourself.” (Matthew 22:37,39) So, if you’re looking for a new philosophy today, Jesus has got you covered with a classic that’s stood the test of time. Love God. Love Others. The end.

God, teach us to do no harm, do good, and stay in love with you always. Amen.

40 Days Of Broadway – Godspell

The only show that I have directed three times (shout out to Cornerstone Theatre, Shady Side Theatre Company, and Frostburg Theatre Company), and the first original national Broadway tour my mom ever witnessed at the acclaimed Warner Theatre in Washington, DC, Stephen Schwartz’s 1970 musical based loosely on the Gospel of Matthew, “Godspell,” will always hold a special place in my heart. For those unfamiliar with the show, take the characters, stories, and lessons of Jesus found in the biblical narrative, then, replace the main actors with clowns, and then, set everything in a 1970’s urban landscape. Makes perfect sense, right? But it works so well!
As with other biblically-based shows in this series of devotionals, this particular production has plenty of songs that offer good news or pontifications of divine truth. However, there was one song that Stephen Schwartz didn’t include in the original production, that he insisted be inserted into the 1973 feature film, and has been included in most productions ever since. I’ve done this once before in this series, but the truth is, as I witness the business closures on Main Street and the small businesses making difficult decisions through the town I love, Frostburg, MD, during this novel coronavirus pandemic, and as we all are struggling along together in our own unique ways as we fight the spread of COVID-19, I could not think of a more appropriate song, so I encourage you to listen to this song, and read these hopeful lyrics.
Out of the ruins and rubble. Out of the smoke. Out of our night of struggle. Can we see a ray of hope? One pale thin ray reaching for the day. We can build a beautiful city. Yes, we can, yes, we can. We can build a beautiful city. Not a city of angels, but we can build a city of man. We may not reach the ending, but we can start, slowly but truly mending, brick by brick, heart by heart. Now, maybe now, we start learning how. We can build a beautiful city. Yes we can, yes, we can. We can build a beautiful city. Not a city of angels, but we can build a city of man. When your trust is all but shattered, when your faith is all but killed, you can give up bitter and battered, or you can slowly start to build…a beautiful city. Yes, we can, yes, we can. We can build a beautiful city, not a city of angels, but finally a city of men”
In Jeremiah 29:5-8, just before that famous scripture where God promises a “future filled with hope,” the prophet proclaims, “Build houses and settle down; cultivate gardens and eat what they produce. Get married and have children; then help your sons find wives and your daughters find husbands in order that they too may have children. Increase in number there so that you don’t dwindle away. Promote the welfare of the city where I have sent you into exile. Pray to the Lord for it, because your future depends on its welfare.” Even in the midst of pandemic, we’re all in this together, and we still can help build a beautiful city, yes we can, yes we can.
Dear God, unite us with hope and determination, even as we face uncertain times, and both personal and communal trials and tribulations. Give us a faith in you, and a faith in one another, that no brokenness this world brings our way is ever strong enough to deny us the abundant life you have planned for us and the eternal life you have promised us. Amen.

40 Days Of Broadway – Avenue Q

***Disclaimer…if you’re a parent currently self-isolating at home with your young children, or if you’re unfamiliar with this production, this particular video is safe…I can not say the same about any other songs or videos from the show…***

In perhaps the biggest recent shocker in the history of the Tony Awards, 2004’s “Avenue Q,” beat out the heavy favorite, Stephen Schwartz’s “Wicked,” for Best Musical. That statement becomes even more stunning when you realize that Robert Lopez and Jeff Marx’s “Avenue Q” is a bawdy, offensive, hyper-trigger-warning-esque comedy…starring puppets. A parody on the puppets of Sesame Street and the Muppets made famous by Jim Henson (fellow University of MD alumni…which means we were obviously friends…go Terps!…who would have won March Madness…if we were having March Madness…*le sigh*). The only difference is that, unlike on the aforementioned street of distinctly sesame flavoring, the “monsters” who live on “Avenue Q” sing songs like, “Everyone’s A Little Bit Racist,” “If You Were Gay,” “The Internet Is For Porn,” and, “You Can Be As Loud As The Hell You Want (When You’re Making Love).”
At this point, for those who didn’t already stop reading, I’m sure you’re wondering where I’m going with this and how I’m going to write a devotional about this musical. I am too, but I brought this challenge upon myself so here we go. The final song in the show is titled, “For Now,” which features the ensemble cast of humans, puppet monsters, and humans in puppet monster costumes (oh, and Gary Coleman) coming together recognizing that their collective problems probably aren’t as bad as they think, and that it’s still worth hoping for better tomorrows, singing, “Nothing lasts. Life goes on, full of surprises. You’ll be faced with problems of all shapes and sizes. You’re going to have to make a few compromises…for now…but only for now!” The cast goes on to conclude that it’s better to recognize and appreciate the simple joys in life, singing, “For now we’re healthy. For now we’re employed. For now we’re happy, If not overjoyed. and we’ll accept the things we cannot avoid, for now…”
The song reminds me of the poetic writing of Qohelet (traditionally believed to be King Solomon) found in the Hebrew Bible, “Ecclesiastes.” The author laments, “Perfectly pointless, says the Teacher, perfectly pointless. Everything is pointless. Some things are inevitable. What do people gain from all the hard work that they work so hard at under the sun? A generation goes, and a generation comes, but the earth remains as it always has.” (Ecclesiastes 1:2-4) However, despite referring life as nothing but a “vapor” or fleeting like the “wind” or completely “pointless” throughout the twelve recorded chapters in the scroll, the sage does ultimately agree that life is still worth living, stating, “Send your bread out on the water because, in the course of time, you may find it again. Give a portion to seven people, even to eight…Scatter your seed in the morning, and in the evening don’t be idle because you don’t know which will succeed, this one or that, or whether both will be equally good…Sweet is the light, and it’s pleasant for the eyes to see the sun. 8 Even those who live many years should take pleasure in them all.” (Ecclesiastes 11:1-2,7-8)

Dear God, when life is hard, when unexpected troubles come our way, when all of our labor and hard work seems pointless, remind us that the abundant life you offer is worth living. Teach us to find great joy in the simple things in life. Give us gratitude for all that we have and all that you have done and continue to do for us. Lead us to life-everlasting. Amen.

40 Days Of Broadway – Fiddler On The Roof

“Fiddler On The Roof,” debuting on Broadway in 1964 and based on the stories of author Sholem Aleichem, tells the story of Jewish patriarch Tevye and his family as they wrestle with the growing social and political obstacles related to maintaining a Jewish identity in early 20th century Russia. The show won nine Tony awards and was the longest running show on Broadway for ten years until eventually being outmatched by “Grease.” (Side note, in 2020, the Fiddler is on the roof because all of the entertainment venues have been closed per government orders and he is self-isolating on the roof in an effort to follow strict social distancing guidelines…but I digress…)
While many know the popular number, “If I Were A Rich Man” (daidle deedle daidle
daidle daidle deedle daidle dumb), the opening number, “Tradition,” truly lays out the premise for the major conflict in the show. Tevye sings, “Who, day and night, must scramble for a living, feed a wife and children, say his daily prayers? And who has the right, as master of the house, to have the final word at home? The Papa, the Papa! Tradition! Who must know the way to make a proper home, a quiet home, a kosher home? Who must raise the family and run the home, so Papa’s free to read the holy book? The Mama, the Mama! Tradition!” While it would be easy to criticize the stereotypical gender roles presented in these lyrics (and you would be right to do so), for this particular song, I’d like to focus on that title word, “tradition.”
Truthfully, there are many ways that tradition has genuine value in family and community life. In church, many of our traditions, such as the sacraments of baptism and eucharist, are ways we might feel in genuine communion with Christ our Lord and as the body of Christ together. Certain hymns and methods of worship have a comforting sense of ritual and routine. At the same time, the church has never been rooted solely in tradition, and I am grateful for the guidance of Wesleyan theology which adds the notion of scripture, reason, and experience when discerning the importance of traditions. Methodists refer to these four partners in ethical philosophy as “the Wesleyan Quadrilateral.” Traditions have often left the church on the wrong side of history, but even then, from the abolition of slavery to women’s suffrage to female clergy to civil rights to more and more, faithful Christians have used tradition through the lens of scripture, reason, and experience to move the church forward. In fact, we were given the model over and over by none other than Jesus Christ himself, who had a preference for beginning his theological arguments by updating old traditions, such as in his Sermon on the Mount, where he said, “You have heard that it was said, You must love your neighbor and hate your enemy. But I say to you, love your enemies and pray for those who harass you 45 so that you will be acting as children of your Father who is in heaven.” (Matthew 5:43-44)

Dear God, teach us to honor those traditions that bring us closer together and closer to you, and my the scripture, reason, and experience you have provided each of us lead us in the direction of love, mercy, and grace. Amen.

40 Days Of Broadway – Jekyll & Hyde

In one of the more unique ways a show made it to the Broadway’s stage, 1997’s “Jekyll & Hyde,” was based on a 1990 concept album by Frank Wildhorn, and book by Leslie Bricusse which is based loosely on Robert Louis Stevenson’s 1886 novella, “The Strange Case Of Dr. Jekyll And Mr. Hyde.” The show has since starred names such as David Hasselhoff and Skid Row’s Sebastian Bach in the titular role.
In the song, “This Is The Moment,” Dr. Jekyll embraces the idea of using himself as his own test-subject, singing (in an incredibly sweeping ballad), “This is the moment when all I’ve done, all the dreaming, scheming and screaming, become one! This is the day, see it sparkle and shine, when all I’ve lived for becomes mine! For all these years, I’ve faced the world alone, and now the time has come to prove to them I’ve made it on my own! This is the moment, my final test. Destiny beckoned, I never reckoned, second best! I won’t look down, I must not fall This is the moment, the sweetest moment of them all!” Unfortunately, for Jekyll, this is also the moment that gives birth to the evil Mr. Hyde.
From Judas betraying Jesus with a kiss for 30 pieces of silver, to Peter denying Jesus as his rabbi publicly three times in a row on the night of Jesus’ arrest, the gospel narratives offer many accounts of this sort of “moment of truth” scenario. The scripture offer’s insight into Peter’s good intention and humanity, as he speaks to Jesus, “Lord, why can’t I follow you now? I’ll give up my life for you.” (John 13:37) It was Jesus, himself, who warned Peter of the gravity of the situation when he replied, “Will you give up your life for me? I assure you that you will deny me three times before the rooster crows.” (John 13:38) Of course, we can’t blame Peter, considering all of Jesus’ disciples fled in fear on that fateful night.
There will be times in our life when we are faced with monumental decisions. In truth, even the decision to wake up each morning and face the day and the world in a manner that reflects the unconventional wisdom of Jesus Christ, such as placing the needs and well being of others above ourselves, loving a God we can’t see or touch (physically), and practicing a sacrificial, selfless love of humility. And yet, every day, we have the opportunity to seize those moments and claim a way of life filled with faith, hope, and love despite any darkness that may present itself.

Dear God, when life presents us with a monumental moment of truth, or even during the mini-moments we face every day, give us the courage to resist our self-serving temptations, care for others, spread love, and honor you with all we say and do. Amen.

40 Days Of Broadway – Next To Normal

In 2008, Broadway took a serious turn with Tony-Award winning rock-musical, “Next To Normal,” featuring the talents of breakout stars J. Robert Spencer, Alice Ripley & Aaron Tveit. Given the sensitive nature of the show, I’ll offer the brief synopsis from wikipedia.com: “The story centers on a mother who struggles with worsening bipolar disorder and the effects that managing her illness has on her family. The musical addresses grief, depression, suicide, drug abuse, ethics in modern psychiatry, and the underbelly of suburban life.’
In one of the many show-stopping numbers from the production, a frustrated husband, Dan, sings to his emotionally struggling wife, Diana (who is experiencing recurring hallucinations of her deceased son which are creating significant relationship problems – yes, this is a deep, complicated, and perhaps too realistic show), “Can you tell me what it is you’re afraid of? Can you tell me why I’m afraid it’s me? Can I touch you? We’ve been fine for so long now. How can something go wrong that I can’t see? ‘Cause I’m holding on and I won’t let go. I just thought you should know, I am the one who knows you, I am the one who cares, I am the one who’s always been there. I am the one who’s helped you, and if you think that I just don’t give a damn, then you just don’t know who I am”
While I don’t feel qualified to delve too deeply into the socio-emotional and mental health issues raised by the show (and I absolutely admit these are conversations that should becoming more normal and accepted in our society), in the midst of writing a sermon series on the prophets of the Hebrew Bible, the theme of a broken relationship rings poignant. In the book of Hosea, readers are treated to a narrative regarding a marriage fraught with infidelity (spoiler alert: it’s a metaphor for God and Israel). However, despite Israel’s transgressions, God remains faithful, saying, “When Israel was a child, I loved him, and out of Egypt I called my son. The more I called them, the further they went from me; they kept sacrificing to the Baals, and they burned incense to idols Yet it was I who taught Ephraim to walk; I took them up in my arms, but they did not know that I healed them. I led them with bands of human kindness, with cords of love. I treated them like those who lift infants to their cheeks; I bent down to them and fed them.” (Hosea 11:1-4)

Dear God, though we often wander astray, though we are prone to mistakes, though we fail over and over again in our part in this relationship with you, this relationship we are so quick to proclaim to others, but often so slow to privately hold up our own end; Lord, we thank you for your constant, relentless, and unquestionable faithfulness. Nurture us, so that we might live into this divine relationship in a way that honors you, and leads us towards abundant and everlasting life. Amen.

40 Days Of Broadway – Children Of Eden

To be honest, it is a stretch to include 1991’s “Children of Eden” in a Broadway list, technically, because Stephen Schwartz, who is much more well-known for smash-hit musicals such as “Godspell” and “Wicked,” or providing music for acclaimed animated films such as, “The Prince of Egypt,” and Disney’s, “The Hunchback Of Notre Dame,” never saw this particular Bible-based production receive even the glimmer of hope of a major New York City performance, instead floundering on the West End in London.
With an enormous cast, along with over 60 original songs, and coming in at standard run-time of over three hours, it’s not hard to see why this particular show, which seeks to tell the story not only of Adam and Eve as well as Cain and Abel, but also the entire story of Noah’s Ark, had trouble finding it’s footing amidst the “flood” (pardon the pun) of difficulties. Still, the music of the show is some of the best every performed, and the production itself has gone on to find itself listens among Music Theatre International’s 20 most-performed musical productions. #dontcallitacomeback
Currently, the church where i serve, Frostburg UMC, is engaged in a lenten sermon series titled, “Lost In The Wilderness,” based primarily on my favorite song from “Children of Eden.” After being banned from Garden of Eden (or, to put in contemporary terms, the Governor/President of Eden issued a mandate ordering all gardens to be closed and social gatherings to be limited…you get what I’m saying…), Cain laments the situation that him and his brother Abel find themselves in, especially considering it was through no fault of their own. Cain sings, “I never made this world, I didn’t even lose it, and I know no one said it was fair. But they had a garden once, they had the chance to choose it, and they gave it away including my share. And now we’re lost in wilderness. Lost, crying in the wilderness. And if anyone’s watching it seems they couldn’t care less. We’re lost wilderness”
I imagine during this time of social distancing and isolation, amidst a backdrop of school and mall and restaurant and theatre closings, it’s not hard to feel as if we’re “lost in the wilderness.” But even if we weren’t forced into a pseudo-self-quarantine during these days, it’s easy to find ourselves in a place where it feels like the world has passed us by, or as if we drew the short-straw on life. Cain concludes a song, which begins as a lament, with a shout of triumphant hope, singing, “Don’t you ever watch the eagle fly to the sun and wonder how he got to be so free. If you ever have, you know. your journey’s begun. Hey what’ve we got to lose boy, when already we are lost in the wilderness. And where we are headed boy, I couldn’t guess but off we go without a warning, running as we hit the ground. Where our future lies a-borning, where our hearts are outward bound, ‘till one bright and distant morning, we may stop and look around and there in the wilderness, finally, we’ll be found!”
In one of Jesus’ longer sections of parables, in Luke 15:8-10, Christ tells his followers, “Or what woman, if she owns ten silver coins and loses one of them, won’t light a lamp and sweep the house, searching her home carefully until she finds it? When she finds it, she calls together her friends and neighbors, saying, ‘Celebrate with me because I’ve found my lost coin.’ In the same way, I tell you, joy breaks out in the presence of God’s angels over one sinner who changes both heart and life.” No matter how lost you ever find yourself, no matter how alone you ever feel, know that Christ is busy searching for you, like a shepherd looking for a lost sheep, like a father praying for a prodigal son, and like a widow searching for a lost coin. Our God is relentless. You will be found, and nothing will measure the joy of heaven when you find yourself reunited with the God who created you, who loves you, and who calls you home. Amen.

God of the lost and found, when we feel lost, may we find ourselves in your loving arms of mercy, grace, compassion, and hope. Amen.