Abstract
In America, there is currently the beginning of a movement among many churches to launch in-house theatres. This is largely an attempt by both parties to more comprehensively address perceived needs within the surrounding community. By and large, these theatres select and produce secular material for production and often resultantly experience conflict with their housing churches over content. Additionally, in sharing resources of space, manpower and finances, there is often further dissonance within the relationship. In the following Master’s thesis, I present three examples of the theatre/church relationship and argue that much of the strife is a natural outflow of a passively instilled relationship model of Patriarchal marriage. I purpose that the churches, theatres and surrounding communities would be better served in adapting a model of equitable reciprocity under the constructs of New Feminism. Moreover, I provide evidence that supports the benefits of undertaking the adaptation of such a model.