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Elmer Gantry is an all-American opera. It presents us with a particular moment in American history, the period early in the twentieth century just before World War I, when popular religion set out to appropriate contemporary business models and when best-selling books argued that if Jesus were to come back today, he would be president of the Rotary Club.

But the real subject of the opera is one that runs through all of American history, the pervasive and easily corrupted power of religion. Elmer Gantry begins with sexual boasting and a bar-room brawl; it closes in an apocalyptic revival meeting.

The title character is a former football player who has become a huckstering evangelist who serves as the business manager for an even more successful evangelist, Sister Sharon Falconer. In one stirring and amusing scene, Elmer stages a mock football game during a service and scores a touchdown for Jesus despite interference from some pitchfork-wielding little devils. One of the things that makes it particularly amusing is that we remember that Elmer had used the same metaphor in the opening scene of the opera, but that time the score was sexual.

Sex and sports and religion—a volatile compound. We also learn, early on, that Elmer Gantry is a hypocrite, a prototype for such much-publicized contemporary American figures as Jimmy Swaggart, Jim Bakker, and Ted Haggard.

The difference is that Elmer is a well-meaning hypocrite who simply wants mutually exclusive things and enjoys all of them; he does whatever he wishes without going through internal struggles over choosing the right thing.

In addition to the world of evangelism, we explore other aspects of period Americana—a Bible College faculty meeting CD 1 [2] , the hustle of traveling salesmen, and a meeting of the Elks Lodge CD 1 [5].

The opera helps us realize that all of these groups, and the individuals within them, are using comparable methods to achieve the same secular economic goal, and that things have not changed much in the subsequent century.

We also experience characters, and the evolution of characters—unprincipled people unexpectedly do principled things, and vice versa; Elmer and Sharon learn something from each other, although neither one of them learns enough.

They wrote their opera for American singers, more specifically for American singing-actors, who know how to internalize, then deliver, their own yeasty language, and how to sing many different kinds of American music. When there is a discussion a class in Old Testament Hebrew that Elmer has been skipping, Aldridge gives us some klezmer clarinet, making a little bow to his friend and librettist CD 1 [3].

Like most serious artists in America—or anywhere else—Aldridge and Garfein had to overcome major obstacles to bring their colorful, powerful and thought-provoking opera to the stage. Nothing worthwhile is ever easy to achieve.

The process all began at Christmas dinner in , when Aldridge and Garfein were still in their early thirties. After the table was cleared they decided to watch a videocassette of the movie version of Elmer Gantry which featured Burt Lancaster as Elmer and Jean Simmons as Sharon.

And the late mezzo-soprano Lorraine Hunt, not yet the legendary Lorraine Hunt Lieberson, said she would like to tackle the role of the fervent female evangelist Sharon Falconer.

Aldridge and Garfein had met at New England Conservatory; Aldridge was a founding member of the popular new-music collective Composers in Red Sneakers, which Garfein subsequently joined. Both had already won their spurs as composers, but neither one of them knew anything much about the opera world and how it operates. American opera companies are not geared to further the ambitions of young composers, and commissioners are more interested in works by people who are already famous—even if their fame comes from their accomplishments in areas far removed from opera.

First came the painstaking but exciting job of roughing out a scenario, which evolved into a more labor-intensive job of cutting and adding, shaping and revising. Ultimately Elmer Gantry emerged as an opera in two acts, with thirteen scenes and an epilogue. In and , Aldridge and Garfein travelled to North Carolina to experience the old-time religion firsthand—and to hear and assimilate the music of the old-time religion. They had a prestigious predecessor in this endeavor. In the summer of George Gershwin headed to South Carolina to study some of the regional African-American music he needed to know before he could compose Porgy and Bess.

There are echoes of Gershwin in Gantry, and in fact the marimba-limned opening of the opera pays tribute to the opening of Porgy.

Elmer Gantry is full of hymns, gospel songs, marches, dances and all kinds of other period genre music that reflects the religious and popular music of the period of the story. One can hear other influences as well, notably Copland and Kurt Weill. Instead, the music is something denser and richer, something that probes deeper because of the sophisticated musical mind and experienced ear that Aldridge brings to the raw materials from the vernacular; Garfein charted a parallel course in finding the poetry in colloquial American English, even the slang, of the period.

Among other things, Aldridge has notated the kind of improvisational jubilation that marks choral and congregational singing of this kind. Aldridge and Garfein may not have become converts to populist religion, but they recognized and felt its power for good as well as understanding how easily that power can be diverted and exploited for personal and political gain.

It is the morning and the evening star. Eddie himself loses control over his own words as he prepares his sermon in the extraordinary aria that closes Act I. They also made a pact to listen to an opera every day.

It was a pact frequently broken, but they did study several operas like Boris Godunov, Die Meistersinger, and Peter Grimes in which the chorus becomes the voice of the community, as well as the operas of Verdi that provide examples of complex musical characterization.

But at that point the Boston opera company that had funneled the money for those workshops decided not to produce the work. Aldridge and Garfein then began to shop their opera around to more than a dozen other American companies—at their own expense. Many companies expressed no interest; an occasional glimmer of promise would end in defeat.

Meanwhile, Aldridge worked at orchestrating the whole score, and collaborated with Garfein on making many cuts in the hope of creating a more effective opera—and a more performable one, not to mention a more budgetable one. Collectively the chorus represents the voice of the people, a vox Americana.

Most of them do not achieve closure and court applause in the nineteenth-century manner, but instead evolve into other things. The words and music at first sound as innocent as something from Hansel und Gretel, but before long the trio is at once sexy, perverse, dreamlike, funny and sad CD 2 [7]. These arias develop remarkably vivid characterizations.

Sister Sharon is always off in her own world; she seems to be in a state of perpetual trance. Elmer, on the other hand, is always out in the world. Towards the end he delivers a public aria of repentance, with chorus; he is still working the crowd.

Later, when he needs to, he cannot repent convincingly, and, trying to divert attention, creates a disaster. Elmer is exposed, tries to repent, this time for real, but he cannot even do that; to distract attention, he directs a boy to throw the switch to illuminate the electric cross. It explodes and the tabernacle goes up in flames. The libretto has set all of this forth with clarity, ingenuity and theatrical daring, and the music rises to the occasion; one can hear the licking of the flames and then feel the hot flare.

Finally we see Elmer again. He is a survivor, and he is on to the next thing, rewriting history as he goes. Elmer has left the stage, so we do not know if he is haunted by these voices; we do know that we are.

The University of Houston and the University of Minnesota have since produced it— Elmer Gantry is proving to be a piece that ambitious opera-training programs want to turn their students loose on. Florescu retained emerging star baritone Keith Phares in the title role, but also engaged some new singers, arranged for a national broadcast, and this Naxos recording.

Florescu says Elmer Gantry is a wonderful example of how composers today are unapologetic, indeed messianic, about the musical language they use. I am very proud that we did it here in the flyover zone! And to that we can say, Amen. Since his retirement from the newspaper he has been creating podcasts for the Boston Symphony Orchestra, writing program notes, lecturing, and teaching at the Tanglewood Music Center. He handed Harcourt a heavy black bag. The bag held the half-finished manuscript of Elmer Gantry , a novel about a silver-tongued saver of souls whose private life was an unabashed repertoire of hypocrisy and vice.

At the time, Lewis had published two of the five novels on which his critical reputation rests, Main Street and Babbitt The year before, Lewis had won—and refused—the Pulitzer Prize for his novel Arrowsmith.

His scathing wit, his all-seeing eye, and his cynical outlook made him the literary equivalent of that other favorite skeptic of the period, H. During the s, the Puritanism that had long sustained American character seemed to be drowning in a sea of bathtub gin. The drowning of beloved female evangelist Aimee Semple McPherson in seemed to be a national tragedy until she showed up in Mexico, dressed to the nines. She had apparently been having an affair, and the event compromised her marriage as well as her career.

Elmer lives as a hard-drinking, sweet-talking rover until he meets Sister Sharon. To be honest, this also characterizes the good Sister. In that novel, readers at least found a sympathetic character. But Lewis offered no such consolation with Elmer Gantry. What he tapped into with this novel touched the American psyche at a time of significant shifts in national character and religious practice.

To understand this, we have to remember the legacy of Puritanism in the America of the s. That the Puritans came to North America to escape religious persecution in England is well known to every schoolchild. What may be surprising is that religious conflict began among the Pilgrims as early as the s. In the next decades, religious enthusiasm began to decline.

New England clergy responded by adopting an emotional style of preaching known as the jeremiad, influenced by the prophecies of Jeremiah with its emphasis on joy, fervor, and anxiety about displeasing God. Also around this time, the Puritans lost political control of their territory to the British. In , the Salem witch trials showed how extreme religious anxiety had become. British influence in New England helped liberalize society by bringing in European Enlightenment ideas.

The colonists reacted with the first Great Awakening, an anti-intellectual religious movement that occurred between the s and s. Pastors like George Whitefield and Jonathan Edwards exhorted the faithful to remember that they were sinners in the hands of an angry God.

The Presbyterian preaching family of William Tennent and his four sons led colonial religious revivals and founded a training seminary. These preachers used vivid, emotionally-charged sermons to remind their listeners of their sacred destiny as Christians. In fact, what we think of as manifest destiny or American exceptionalism originated in the jeremiads of the Great Awakening.

Increasingly, itinerant revivalists began to travel around the countryside, preaching outdoors and gathering converts in large numbers. The fire-and-brimstone theatrics of these preachers deeply offended the more conservative clergy. By the s, evangelical Protestant sects dominated religion in the United States.

They stressed the importance of the conversion experience—religion through the heart rather than the head. This profound transformation came about through the powerful words of a preacher and the collective enthusiasm of fellow worshippers. The conversion was the climax of the popular outdoor camp meeting or revivals that characterized the Second Great Awakening during the mid-nineteenth century.

Gradually, these revivals became complex, highly-orchestrated events sometimes lasting several days. The modern crisis of faith—one that many believe is still with us—came about by the end of the nineteenth century.

A combination of factors led to an intellectual reaction against revivalism: Darwinism, increasing awareness of non-Christian faiths, and higher biblical criticism that aimed to analyze the Bible not as the divinely-inspired word of God but as an ancient artifact. In addition, proponents of what became known as Social Gospel sought to utilize the Bible to right social wrongs.

Beth Barany, Author » Magical Tales of Romance, Adventure, & Mystery » Page 14

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Is there a food that you really dislike because of its texture or taste? Do you flick your pen cap or play with your hair while you are thinking about something? While this sensation may have preoccupied you at that moment, you were likely able to avoid it or do enough of it that you felt satiated and able to go about your daily life.

Now imagine that there are several sensations that you either crave or detest. The sounds, smells, tastes, sights, and textures bombarding you during daily life would make it difficult to concentrate on anything else.

Most of us are able to integrate all of the sensory information that we constantly face, paying attention to and tolerating important sensory information and disregarding information that is less important at that moment.

For individuals with autism, however, this is not the case. Many people with autism have difficulties processing information taken in through the senses. Besides the five senses of smell, taste, sight, hearing, and touch, individuals with autism can also struggle with their sense of movement and balance.

People with autism might be over-sensitive to certain sensations, which means that just a small amount of that sensation will stimulate them. It is, therefore, very easy to become over-stimulated by that sensation, causing the individual to try to avoid it. An example would be a child who is over-sensitive to sounds, who might cover his ears when he is in a noisy classroom or hears the vacuum at home.

Or a child who is over-sensitive to taste might be quite a picky eater. Individuals with autism can also be under-sensitive to certain sensations. This means that it takes a lot of that sensation to stimulate that person. Children who are under-sensitive to a sensation will seek out more of it in order to feel satiated.

For example, a child who is under-sensitive to sounds may enjoy turning up the volume on the TV. Or a child who is under-sensitive to movement may want to be constantly on the move. An individual can have a combination of over- and under-sensitivities over-sensitive to some things, under-sensitive to others. Think for a moment about the following children who are over-sensitive to certain sensory input.

The sense that they are avoiding is in parenthesis. Now consider the following children who are under-sensitive to certain sensory information. The sense that they seek out is in parenthesis. Click here to see part of this checklist. You can also use this information to think of ways to help your child manage difficult situations. For example, choosing clothing that is more comfortable for him will free him up to concentrate on other things and not be bothered by the feeling of his shirt on his skin.

Or if he is bothered by the sound of the chair legs scraping against the floor in his classroom, socks can be placed over the feet of the chairs to dampen the sound. If your child is under-sensitive to sensations and seeks them out, you may have to find creative ways of fulfilling this sensory need.

If a child has a sensory preference, he will usually find another outlet to fulfill this need. People Games are games that are played without toys — just with people. Some People Games involve movement and music e.

Ring Around the Rosie , and some involve just movement or actions e. People Games offer a special advantage for children with autism, who learn best through structure and repetition. Some children even say their first words during a People Game. The most important thing about People Games is that they are fun! Most families engage in People Games with their children, whether they realize it or not. Here are some examples of People Games:.

Once you determine the sensations that your child likes and dislikes, you can think of a People Game that might incorporate this for your child. Here are some examples of sensory preferences and a People Game that would satisfy that preference: Some of the best People Games are the ones families create themselves. Isaac is under-sensitive to visual stimulation and to movement, so he seeks out both of these sensations by looking at his fingers in front of his face, and by jumping often on a trampoline.

You will probably find that your child looks at you more often during the game, and may try to communicate with you during the game. No matter what People Game you decide to play with your child, here are some tips that will ensure that your child has fun and learns something in the process:.

Isaac is motivated to play and to communicate because his preference for movement is being stimulated. Your child will be motivated to interact with you, pay attention to you and look at you.

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