The initiating spiritual experience and wonder of satori presented in this work had an explicitly Christian context and foundation. Had it taken place inside the Buddhist, Judaic, Hindu, Sufi or any other wholesome discipline, that is the setting in which the play would have been written, in different dress.

As can be read in the arcane texts of these and many other traditions, Christianity’s Master said, “The Kingdom of Heaven is in your midst, and within you.” What He did not say is this illuminating joy will someday be here, or is in a far-off place – promoting the question, if it is all around and inside us now why any measure of indifference towards its experiencing? And the answer is (surely it must be) the myriad ego, in its blinding complexity, cannot yield its pre-eminence for that will start its decline and lead us to enlightenment, bringing its end.

This then is the play’s intent, to explore and bear witness to and explain the import of Christ’s least-quoted words, citing Hebrew scripture and its unimagined reality:

“I have said ye are gods, and all of you are
children of the Most High…”

…which the play’s structure endeavors to do with openly intimate revelations and (it is sincerely hoped) ample, and healthy, footsteps into comedy.