A sermon preached at Niles Discovery Church, Fremont, California,
on Sunday, December 11, 2016, by the Rev. Jeffrey Spencer.
Scriptures: Matthew 2:13-18 and Matthew 5:38-47
Copyright © 2016 by Jeffrey S. Spencer
Whatever happened to the overture?
I suspect there are enough theatre nerds in this congregation (I count myself among them – obviously) that I can’t be the only one who’s wondered this. The musical theatre overture has, for the most part, disappeared. And it’s been fading away for a long time. According to a National Public Radio story from eight years ago, one reason the overture has pretty much disappeared is money. Tighter budgets have led to smaller orchestras, which means simpler orchestrations, which means no overture. An article in The New York Times from ten years ago says the demise of the overture goes back now 40 years. Here are a few paragraphs from the article.
“Who could forget the great overture to ‘A Chorus Line’? First there’s that infectious hop-step vamp from the song ‘One.’ Then come some of the show’s most familiar melodies: ‘I Hope I Get It,’ ‘Nothing,’ ‘What I Did for Love.’ Finally the orchestra swings back for a rousing half-chorus of ‘One’ that would make even gouty musical-theater-phobes want to leap to their feet with excitement.
“Oh, wait – ‘A Chorus Line’ doesn’t have an overture.…
“Back in 1975, a month before the original production’s debut, Marvin Hamlisch did write a ‘Chorus Line’ overture like the one described. But the director, Michael Bennett, and the show’s other creators decided not to include it, fearing it would destroy the illusion that the audience was watching an actual audition as the lights went up.…
“Thanks in part to ‘A Chorus Line,’ the Broadway orchestra and the Broadway overture would rarely emerge from that obscurity again.”
No, I haven’t lost my mind, and, yes, I do remember that this is a sermon. I just want to remind you of what an overture is – or was. The overture, typically several minutes long, was “made up of melodies heard later in the show and [was] played by an orchestra before the curtain [went] up.” It introduced musical themes to the audience, acting “like a bridge between real life and the world they’re about to enter.”
And that’s exactly what Matthew is doing in the first two chapters of his gospel, the chapters where Matthew talks about Jesus’ birth and childhood. This is an idea that is new to me, introduced by Marcus Borg and John Dominic Crossan in their book The First Christmas. Luke does it, too, with his birth and childhood narrative, also the first two chapters of his gospel. Both authors introduce the themes that will play out in the rest of their gospels.
The big theme we hear in Matthew’s overture is that Jesus is the new Moses. It’s here in our first lesson. Just as Moses was born under an evil ruler, the Pharaoh, Jesus is born under the evil King Herod. Just as Moses needed to escape the slaughter of Jewish newborns, Jesus needs to escape the slaughter of the children in Bethlehem.
Crossan and Borg go on to suggest that the number five is important. There are in this overture, five dreams move the story along and five prophetic fulfillments are cited. This calls to mind the Torah, they say, because it is made up of the first five books of the Hebrew Bible. These are also called “the books of Moses.” And like the five books of Moses, the main body of Matthew’s gospel is easily divided into five sections:
- the Law discourse (the Sermon on the Mount, where Jesus reinterprets the law Moses received – on a mountain);
- the missionary discourse;
- the parable discourse;
- the community discourse; and
- the eschatological discourse.
Borg and Crossan point to other ways this overture introduces the theme that Jesus is the new Moses, but I don’t want to get lost in the weeds (or bulrushes) digging into these. Instead, I want to you hear this general idea:
The Christmas stories in Matthew and Luke – their overtures – are important not because any of it happened historically (and aside from Mary being pregnant and giving birth, is likely that little else in the story happened historically). No, the Christmas stories in Matthew and Luke are important because they tell us where the story is going.
And where does Matthew tell us where the story is going? Just in the reading we heard today, we hear both that non-Jews will seek Jesus and that wise ones will seek him. We hear that Jesus will be the new Davidic king (a subtheme in the overture lifted up elsewhere). We hear that the principalities and powers will find Jesus threatening and will seek to kill him. We hear that God has an escape plan for Jesus, that death won’t have the final word.
Do you see one reason why it’s important to keep Herod in Christmas? The overture doesn’t work without him.
Of course it’s not the only reason to keep Herod in Christmas. Any first or second century Jew would know what a despot Herod the Great was. Yes, he rebuilt the Temple in Jerusalem, an important sign of Jewish identity. But he was a puppet king, dependent on the Roman empire for his status. “Cruel and ruthless, he used slave labor for his huge building projects. He had a reputation for assassinating anyone he considered a threat – including his wife and two of his own sons.”
You can see why it was not a far-fetched storyline to have Herod kill all the infant and toddler boys in Bethlehem in Matthew’s overture. There are some important questions that are raised by having Herod in this story. We know how Herod managed power and dealt with threats. How will we? We know how Herod used violence to get his way. Will we?
“Herod – and Pharaoh before him – model one way: violence is simply one tool, used in varying degrees, to gain or maintain power.
“The baby whom Herod seeks to kill will model another way. His tool will be service, not violence. And his goal will not be gaining and maintaining power, but using his power to heal and empower others. He will reveal a vision of God that is reflected more in the vulnerability of children than in the violence of men, more in the caring of mothers than in the cruelty of kings.”
Brian McLaren points out, “All this can sound quite abstract and theoretical unless we go one step deeper. The next war – whoever wages it – will most likely resemble every war in the past. It will be planned by powerful older men in their comfortable offices, and it will be fought on the ground by people the age of their children and grand children. Most of the [uniformed] casualties will probably be between eighteen and twenty-two years old – in some places, much younger. So the old, sad music of the ancient story of Herod and the slaughter of the children will be replayed again. And again, the tears of mothers will fall.”
By keeping Herod in Christmas, we are forced to grapple with what we believe about God. “Does God promote or demand violence? Does God favor the sacrifice of children for the well-being of adults? Is God best reflected in the image of powerful old men who send the young and vulnerable to die on their behalf? Or is God best seen in the image of a helpless baby, identifying with the victims, sharing their vulnerability, full of fragile but limitless promise?”
Our second lesson answers these question – but in a whole new way. From the Sermon on the Mount, Jesus holds up the ethic of love as the real fulfillment of the law. And this love needs to be deep, deep enough to turn your enemies into friends. When faced with oppression, the typical responses are fight or flight. “An eye for an eye” is a call to meet violence with violence. The other response is to let the violence crush you.
Jesus offers a third way: meet violence with non-violent activism. Because someone would only strike you with their right hand, if someone strikes you on the right cheek, they’ve backhanded you. Doing that means they are treating you as an inferior. By offering your left cheek, you are saying, “If you want to hit me, you’ll have to hit me as your equal.” If someone sues you for your only possession, the clothes off your back, give them your underwear, too. If they reduce you to being naked, they have lost face. The only person who would force you to go a mile would be a Roman soldier. They were known for forcing locals to carry their packs and were restricted to only forcing that for one mile. By insisting that you go two miles, you’ll get the occupying soldier in trouble.
There is a third way, Jesus says, to fight for the dignity of the oppressed without becoming an oppressor.
“To be alive in the adventure of Jesus,” McLaren says, “is to face at every turn the destructive reality of violence. To be alive in the adventure of Jesus is to side with the vulnerable … in defiance of the [oppressors] who see [the vulnerable] as expendable. To walk the road with Jesus is to withhold consent and cooperation with the powerful, and to invest it instead with the vulnerable. It is to refuse to bow to all the Herods and all their ruthless regimes – and to reserve our loyalty for a better king and a better kingdom.
“Jesus has truly come, but each year during the Advent season, we acknowledge that the dream for which he gave his all has not yet fully come true. As long as elites plot violence, as long a children pay the price, and as long as mothers weep, we cannot be satisfied.
“… In this Advent season, we dare to believe that God feels their pain and come near to bring comfort. If we believe that is true, then of course we must join God and come near, too. That is why we must keep Herod and the ugliness [of the story] of his mass murder in the beautiful Christmas story.”
Now, as we move into our time of quiet, I invite you to reflect on …
… anything in the sermon or scripture readings that caught your interest; or
… a time when you were a child and an adult other than a parent showed you great respect or kindness; or
… the idea that Matthew’s birth narrative is an “overture” to his gospel; or
… to hold in your mind both the image of Herod, ruthless and power-hungry, and the image of Jesus, a vulnerable baby—then observe what happens in your heart and offer a prayer of response.
 Jeff Lunden, “Broadway’s Best Musical Revival: The Overture?” National Public Radio, http://www.npr.org/templates/story/story.php?storyId=91480130 (posted 15 June 2008; accessed 8 December 2016).
 Jesse Green, “Whatever Happened to the Overture?” The New York Times, http://www.nytimes.com/2006/10/01/theater/01gree.html (posted 1 October 2006; accessed 8 December 2016).
 Lunden, op. cit.
 Borg, Marcus J., and John Dominic Crossan, The First Christmas (New York: HarperCollins, 2007), 41-42.
 Ibid, 42-46.
 Ibid, 71-72.
 Ibid, 72-73.
 Ibid, 73.
 Ibid, 73-74.