DRAMA (ROUND 4 · Astra 6, Opus-checked)
Appealing theater teamwork, but a sexual worldview parents should not overlook.
The Worldview
Skip it if you want your child's reading to support biblical teaching about sexuality. DRAMA has genuine warmth and admirable teamwork, but its treatment of same-sex attraction is affirming, not simply an acknowledgment that such feelings exist.
There is much here to appreciate. Callie cares about doing difficult work well. The students need one another's different abilities, and the story gives behind-the-scenes service real importance. A child's worth is not limited to winning attention or being somebody's romantic choice.
The concern is how the book connects friendship with approval of romantic identities and relationships. It presents gay and questioning young characters sympathetically and treats their romantic possibilities as another ordinary part of growing up. That framework conflicts with the biblical understanding of marriage as the union of a man and a woman. The problem is not graphic sexual material, and it would be inaccurate to call the book pornography.
Christian children should learn to treat every classmate with dignity, including classmates whose beliefs or attractions differ from theirs. They can do that without treating every romantic choice as right. Parents, rather than an appealing fictional peer group, should guide those conversations.
Underneath the crushes is a familiar longing: to belong among people who know us and remain faithful. Scripture offers a deeper picture of friendship: "A friend loves at all times, and a brother is born for adversity" (Proverbs 17:17, ESV).
The Story
NO SPOILERS — WE KEEP THE SURPRISESSeventh-grader Callie loves theater, especially the work that happens behind the curtain. For her school's production of MOON OVER MISSISSIPPI, she wants to build impressive scenery on a decidedly unimpressive budget.
Getting the crew organized is difficult enough. Add two interesting new boys, tangled friendships and her own distracting crushes, and Callie has more to manage than sets. Can she help get this production ready before her offstage troubles steal the show?
The Content Guide
The specifics — spoilers included by nature — so you can judge for your own reader.
- Act I — opening walk home and park conversation A previous collision and broken spotlight are discussed; Greg describes his breakup, and Callie kisses him.
- DRAMA — conversations about sexual orientation Young characters discuss being gay or questioning their attraction, alongside concerns about telling parents.
- DRAMA — backstage preparations A dark costume cellar, a prop-injury warning and a Super Glue mishap.
- DRAMA — stage performance A student falls and is injured; blood is mentioned but not pictured.
- DRAMA — final performance Bonnie refuses to perform; Jesse takes the female role and kisses the male lead while in costume.
- DRAMA — school dance Romantic expectations, close dancing and disappointed feelings.
A locator so a parent can pre-read the scenes that matter instead of the whole book.
Dominant Worldview and Other Worldview Content/Elements
An affirming view of same-sex attraction and romantic identity conflicts with biblical sexual morality. Strong positive elements include diligence, cooperation, creative service and kindness toward peers.
Foul Language
Light language: no obscenities or profanities; several insults and rude expressions include "lame," "losers," "fuzzbrain," "dumb," "dork," "thickheaded" and "shut up." The mild substitute "darn" also appears.
Violence
Light accidental injury and slapstick, such as a student falling onstage and getting hurt, siblings play-fighting and hands becoming stuck together with Super Glue. Blood is mentioned after the stage accident but is not illustrated. Dialogue recalls a collision that broke a spotlight and mentions the possibility of a prop shooting someone's eye out. A dark costume cellar provides a mildly spooky setting; there are no deaths.
Sex
Moderate romantic content, without sexual activity or explicit sexual description. Middle-school students pursue crushes, discuss dating and breakups, kiss on the cheek and lips, and dance close together. Callie kisses Greg near the beginning. Justin identifies as gay; Jesse's attraction to boys also becomes part of the story, and West questions whether he is bisexual or gay. During the final performance, Jesse replaces the unavailable female lead, wears her character's costume and kisses West onstage. This is a boy acting a female theatrical role, not a depiction of gender transition.
Nudity
No nudity.
Alcohol Use
No alcohol use.
Smoking and/or Drug Use and Abuse
No smoking or drugs.
Miscellaneous Immorality
Jealousy, snubbing, unkind remarks and romantic thoughtlessness hurt friendships rather than serving as admirable behavior. Bonnie refuses to continue the final performance, putting the production at risk. Characters express concern about telling parents about same-sex attraction; this deserves discussion, but it is not the same as an explicit instruction to disobey parents.
Is the Writing Any Good?
Four stars for excellent visual storytelling. Telgemeier gives her characters expressive faces and readable body language, making embarrassment, excitement and disappointment easy to follow without heavy narration. The lively color artwork suits a story about young people discovering what they can do.
The backstage work matters. Budgets, scenery and cooperation are part of the action rather than decoration around a romance. Callie's enthusiasm gives the story momentum, while the crowded network of crushes supplies humor and emotional complications.
Those changing attachments can become tiring, especially for readers more interested in theater than dating. Still, the storytelling understands its audience and makes a complicated group of young personalities engaging. The craft succeeds; the content recommendation is a separate judgment.
Talk About It
Four questions for the dinner table, the car, or a parent and teen reading it together.
Callie puts considerable effort into work the audience may barely notice. What makes behind-the-scenes service valuable, even when somebody else receives the applause?
Colossians 3:23 · 1 Corinthians 12:18–22How do Callie's crushes affect the way she understands other people's actions? What could help someone slow down before assuming friendship means romance?
Proverbs 19:2 · Philippians 2:4The friends accept one another's romantic identities. How can you show genuine kindness to someone while disagreeing about what God intends for relationships?
Ephesians 4:15 · Matthew 19:4–6Some characters worry about talking to their parents. What would make a difficult conversation feel safer in our family, and how should we listen to one another?
James 1:19 · Ephesians 6:1–4The Final Word
Skip it. DRAMA understands the pleasure of making something together, and its artistic strengths are real. But its romantic framework is not one to hand your child without substantial correction. For a theater-loving reader, a practical stagecraft book or a parent-selected story centered on creativity rather than dating would be a better starting point. If your child has already read it, make room for a calm conversation, not embarrassment.
