Humans are actors on the stage called earth. It was William Shakespeare, the quintessential dramatist, who asserted that the world is a stage and all the men and women are merely players who have their exits and their entrances. In some churches, drama is employed as a tool in evangelism, while in others, it is an avoidable distraction, relegated only for use by teachers who instruct Sunday school children. However, in spite of a dearth of widespread support for church drama, more churches seem to utilise theatre and drama in their worships. It is assumed that while hearers sometimes struggle to remember verbalised sermons, the same sermons might be remembered if they are dramatised with the embellishments that scenery, stage props, music, dance, lighting, costume and dialogue bring. This article reports on an investigation into the assumption that drama is one of the timeous tools used to proclaim the timeless truth of scripture. It draws on a mixed-method approach of quantitative and qualitative methods for the study conducted in four churches in three Nigerian cities. Its historical perspective attempts to sketch major empirically grounded features of Christian worship as dramaturgical model. It further reveals the inseparable fusion of religion, theatre and drama. Findings from the study indicate that theatre and drama have become prominent in Christian worship in Nigeria in the last few years. It also suggests that theatricals and dramatics are possible reasons some churches experience numerical growth.
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