The Man Born to Be King is a radio drama based on the life of Jesus, produced and broadcast by the BBC during the Second World War. It is a play cycle consisting of twelve plays depicting specific periods in Jesus' life, from the events surrounding his birth to his death and resurrection. It was first broadcast by the BBC Home Service on Sunday evenings, beginning on 21 December 1941, with new episodes broadcast at 4-week intervals, ending on 18 October 1942. The series was written by novelist and dramatist Dorothy L. Sayers, and produced by Val Gielgud, with Robert Speaight as Jesus. The twelve plays in the cycle are: Kings in Judea The King's Herald A Certain Nobleman The Heirs to the Kingdom The Bread of Heaven The Feast of Tabernacles The Light and the Life Royal Progress The King's Supper The Princes of This World King of Sorrows The King Comes to His Own The project aroused a storm of controversy, even before it was broadcast. Objections arose to the very idea—atheists complained of Christian propaganda, while devout Christians declared that the BBC would be committing blasphemy by allowing the Christ to be impersonated by a human actor—and also to Sayers' approach to the material. Sayers, who felt that the inherent drama of the Gospel story had become muffled by familiarity and a general failure to think of its characters as real people, was determined to give the plays dramatic immediacy, featuring realistic, identifiable characters with human emotions, motivations, and speech-patterns. The decision to have the characters speak in contemporary colloquial English was, by itself, the cause of much disquiet among those more accustomed to Jesus and his followers using the polished and formal words of the King James Bible. In the event, although it continued to be criticised by conservative Christians—one group going so far as to proclaim the fall of Singapore in February 1942 to be a sign of God's displeasure with the series—The Man Born to Be King was generally considered a great success, both as drama and as biblical representation. The public reaction to the series is described in the foreword to the play scripts, first published in 1943, accompanied by a commentary by the author illuminating her attitude to the work and the reasoning behind particular aspects of her dramatisation. There have been many subsequent issues and editions. Other versions In April 1944