Christ's life, such as Reverend J. H. Ingraham's The Prince of the House of David (1855), preceded Wallace's novel, while others such as Charles M. Shedon's "In His Steps": What Would Jesus Do? (1897) followed it, but Ben-Hur was among the first to make Jesus a major character in a novel. Members of the clergy and others praised Wallace's detailed description of the Middle East during Jesus's lifetime and encouraged their congregations to read the book at home and during Sunday School. One Roman Catholic priest wrote to Wallace: "The messiah appears before us as I always wished him depicted". Readers also credited Wallace's novel with making Jesus's story more believable by providing vivid descriptions of the Holy Land and inserting his own character of Judah into scenes from the gospels. One former alcoholic, George Parrish from Kewanee, Illinois, wrote the author a letter crediting Ben-Hur with causing him to reject alcohol and find religion. Parrish remarked: "It seemed to bring Christ home to me as nothing else could". Others who were inspired by the novel dedicated themselves to Christian service and became missionaries, some of them helping to translate Ben-Hur into other languages. This kind of religious support helped Ben-Hur become one of the best-selling novels of its time. It not only reduced lingering American resistance to the novel as a literary form, but also later adaptations were instrumental in introducing some Christian audiences to theater and film. Adaptations Stage After the novel's publication in 1880, Wallace was deluged with requests to dramatize it as a stage play, but he resisted, arguing that no one could accurately portray Christ on stage or recreate a realistic chariot race. Dramatist William Young suggested a solution to represent Jesus with a beam of light, which impressed Wallace. In 1899, Wallace entered into an agreement with theatrical producers Marc Klaw and Abraham Erlanger to turn his novel into a stage adaptation. The resulting play opened at the Broadway Theater in New York City on November 29, 1899. Critics gave it mixed reviews, but the audience packed each performance, many of them first-time theater-goers. It became a hit, selling 25,000 tickets per week. From 1899 until its last performance in 1921, the show played in large venues in U.S. cities such as Boston, Philadelphia, Chicago, and Baltimore, and traveled internationally to London and Sydney and Melbourne, Australia. The stage adaptation was seen by an