Return Home
Last night I went to the New York City Ballet. I had an in house activity (Board Game Night!) and arrived at the very end of the second piece, which was the Prodigal Son choreographed by George Balanchine. As I entered the dark theatre, the son was returning home. The dancer painstakingly dragged his body across the stage toward the front gate. My first thought was, “Where is the Father! He should see the son and RUN to him.” As the son approached the gate, the father came out of the house. The father was twice the size of a normal person with a long robe and grey hair passed his shoulders. When he saw his son, disheveled on the ground, he opened his arms. The son hid his head and slowly dragged his whole body, reaching arm and fingers stretched to finally grab the edge of the father’s robe. He then climbed up the father, using only his upper body, while his legs dangled, curled in the fetal position. The son’s arms reaching around the father’s neck and holding tight as the father’s arms wrapped around the son, carrying him inside the house. There was no fatted calf. There was no jealous older son. The ballet ended.
I was memorized by the whole thing. How many times has my return home looked much more like this ballet, than the real story in Luke 15 of the Prodigal Son — dragging my brokenness back to find the Father waiting for me to climb into his open arms.










