I'm sensitive about the criticism [for not producing new playwrights], yes. But I'm hip to it as well. I read 500 new plays a year, and 99.99 percent of them are not good. I see no reason to do a new play just because it's new. It's like kissing your sister, a virtue, but so what? It seems to me more worthwhile to take a proven playwright and say, Write something for us.

It takes a greater God to steer a world populated with free agents than it does to steer a world of preprogrammed automatons.

Our central job is not to solve the world’s problems. Our job is to draw our entire life from Christ and manifest that life to others. Nothing could be simpler—and nothing could be more challenging.

I think our mental picture of God is the most important fact about our life. All other things being equal, the beauty of our life won't outrun the beauty of our vision of God. Unfortunately, the God that many Christians envision is not completely Christ-like, but is rather influenced by the violent depictions of God in the Old Testament.

Accommodation is a central aspect of the cross-centered interpretation of violent portraits of God that I'm advocating. Like everything else in Cross Vision, this concept is anchored in the cross. On the cross, God stoops to meet us, and to enter into solidarity with us, right where we are at, which is in bondage to sin and to Satan. And he does this to free us and to bring us where he wants us to be, which is united with him in Christ. The cross is thus the paradigmatic example of God mercifully stooping to accommodate people in their fallen conditioning.

Many who are convinced that God is non-violent simply dismiss the Old Testament accounts of God commanding or engaging in violence. I don't consider this to be a viable option, for Jesus treats the whole Old Testament as the inspired Word of God. My cross-centered interpretation of these violent portraits allows believers to affirm that God is non-violent while also affirming that all Scripture is "God-breathed.".

I'm sensitive about the criticism [for not producing new playwrights], yes. But I'm hip to it as well. I read 500 new plays a year, and 99.99 percent of them are not good. I see no reason to do a new play just because it's new. It's like kissing your sister, a virtue, but so what? It seems to me more worthwhile to take a proven playwright and say, Write something for us.