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1. The histrionic art has claimed much of the attention of the world since the day when Thespis acted his play in a waggon at the festival of Dionysius, until this hour when the finest audience rooms in Paris and London are given up to the drama. The theatre of Ephesus was a vast building — the seats rising in concentric circles until no human voice could reach the multitude, and the playactors had masks which served as speaking trumpets, while there were under the seats reflectors of sound. The building was roofless, but covered with an awning to keep out the glare of the sun, and all the performances were in the daytime; while, at the side, there were porticoes into which many of the people retired in time of rain. The building was an overmastering splendour of marble, and glass, and statuary, and gold, and silver, and precious stones.

2. Paul wanted to attend that theatre. What! had the apostle been so pleased with the writings of Eschylus, Sophocles and Euripedes, that between his sermons he must go and look upon the performances of the theatre? No! He wanted to go into that theatre to preach Christ to the people, and vindicate the cause of truth and righteousness. Indeed, I do not know any place more appropriate for the preaching of the gospel than these palaces of dramatic art. Chatham Theatre in New York was never put to a grander purpose than when in 1857, during the great revival, the doors were thrown open for religious assemblages, and hundreds of souls found that their birth place. But until the ministry shall be invited to preach in all theatres, the best thing we can do is to preach to the actors.

3. But, says someone, "You are their avowed enemy." No, I am not. I acknowledge that there is as much genius in that profession as in any other; that there are men and women in it who are pure, honest, and generous. We must, however, acknowledge that there is an everlasting war between the Church and the playhouse. You do not like the Church. We do not like the theatre. But there is a common ground upon which we can meet today, as souls to be saved or lost, for whom there is a Saviour. I ask the members of the theatrical profession to surrender to Christ on two grounds.

I. BECAUSE OF THE VAST AMOUNT OF USEFULNESS YOU MIGHT WIELD FOR CHRIST. The course of history would have been changed if actors had given themselves to Christian work. It was the dramatic element sanctified in Robert Hall, Chalmers, and Whitfield, that made them the irresistible instruments of righteousness. If Kean, Kemble, Junius Booth, Garrick, and their contemporaries of the stage, had given themselves to the service of the Lord, this would have been a far different world from what it is. If their successors would some night at the close of their performance come to the front of the stage and say, "Ladies and gentlemen, from this time I am a servant of Jesus Christ: I am His for time and for eternity" — it would save the world! "Oh," you say, "that is an impossibility; there is such a prejudice against us, that if we should come and knock at the door of a Christian Church, we would be driven back." Great mistake: When Spencer H. Cone stepped from the burning theatre in Richmond, December 26, 1811, into the pulpit of the Baptist denomination, he was rapturously welcomed, and I ask what impression that man ever made as a play actor compared with that which he made as an apostle. I ask that you give to God your power of impersonation, your grip over the human heart, your capacity to subdue, and transport great assemblages. Garrick and Whitfield were contemporaries; the triumph of the one was in Drury Lane Theatre; of the other in Moorfields. From the door of eternity, which man has the pleasanter retrospect?

II. ON THE GROUND OF YOUR OWN HAPPINESS AND SAFETY. There is no peace for any occupation or profession without Christ. The huzza in the Haymarket and Covent Garden could not give peace to Mrs. Siddons, and Betterton, and Kean, and Macready. The world may laugh at the farce, but the comedian finds it a very serious business. Liston in his day had more power to move the mirth of an audience than any other man. He went one day to Dr. Abernethy, saying: "Oh, doctor, I am so low-spirited; can't you cure me?" Dr. Abernethy, who did not know him, said, "Pooh, pooh, I am not the man you want to see; don't come to a doctor; go to Liston; two doses would cure a madman." Alas for Liston, he might cure others, but he could not cure himself. When I preached on the subject before, several play actresses came and said, "We would like to become Christians, if you could only find for us some other occupation." I said to them what I say to you: that no one ever becomes a Christian until he or she is willing to say, "Lord Jesus, I take Thee now anyhow, come weal or woe, prosperity or privation, comfortable home or almshouse." But God lets no one be shelterless and hungry who comes in that spirit.

(T. De Witt Talmage, D. D.)

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KJV: And the whole city was filled with confusion: and having caught Gaius and Aristarchus, men of Macedonia, Paul's companions in travel, they rushed with one accord into the theatre.

WEB: The whole city was filled with confusion, and they rushed with one accord into the theater, having seized Gaius and Aristarchus, men of Macedonia, Paul's companions in travel.