As outlined by John McClain: "The people of Israel, having worshipped a succession of gods with small success, are about to be overwhelmed by the hordes of the Midianites. Gideon, pursuing his inept labors in the fields, is visited by a stranger in elegant robes who has a difficult time establishing himself as Jehovah, and an even more arduous task in convincing Gideon that he, Gideon, has been appointed the redeemer of his people. But the transformation is finally achieved, and Gideon, now inspired by the Lord's might, leads his army in the miraculous massacre of the enemy. Whenever his devotion to God wavers, it is restored by a miracle, and after the victory there is a sincere love scene between the man and the Almighty. It is a rare and touching moment. But God is an unrelenting and jealous leader, and he demands that his disciple kill the old men of Manasseh and Succoth, who worshipped false gods and prophets. Gideon finds himself powerless to carry out his command, holding human life too dear. Instead he leaves the scene, taking with him the delectable daughter of one of those condemned, and a golden robe with which he hopes to assuage God's wrath. And when his people fall down before him in adoration, he toys fleetingly with the idea of becoming king of Israel. Returning to his tent he has a final confrontation with the Lord, now thoroughly enraged. He begs to be divorced from this allegiance with the Almighty, pleading that he is too mortal for spiritual alliance. Thus the vision of God, entrusted to him alone, vanishes. Left alone, God muses at the tragic gulf that separates man from divinity—the stubborn insistence upon reality which will not let him rise above himself."
A long-running Broadway hit. "…a play of enormous power, humor and persuasion." —NY Journal-American. "…a vaulting and majestic play…" —Women's Wear Daily. "…filled with poetry, color and excitement." —NY Newsday.