When and where did FE play in NY?

I’ve always thought _Gadianton_ had the possibility of doing well outside of Utah. A lot of Eric Samuelsen’s plays would.

_Huebener_ is perhaps a little dated in its style, but I love that play and that story. An updated version would have a strong possibility for crossover… which is why there is a film version trying to be made of Helmuth Huebener’s story by Matt Whittaker (sp?)and Kaleidoscope Films. It’s not based on the play, but looks good. They have Haley Joel Osment playing Huebener, if they can get the funding in place.

http://www.truthandtreason.com/
http://www.truthandtreason.net/article005.htm

Although I don’t consider Huebener to be particularly “topical” in the purest sense. It’s got the “authority vs. conscience” theme, but that’s not something that is particularly modern or immediate.

Facing East has been done in New York already.
I would love to see Tim Slover’s _Hancock County_ done in New York. It might have a fighting chance. In fact, I would love to see ANY predominantly Mormon play that does not deal with homosexuality or the Mountain Meadows Massacre find its way to a New York mainstage (not that I don’t think those topics are worth addressing, I just want to see Mormonism treated as more than a two trick pony), especially if it actually had positive, or at least compassionate and accurate, portrayals or Mormons.

First, are you talking only about Mormon plays by Mormon playwrights, or also non-Mormon plays by Mormon playwrights (meaning that the characters and themes aren’t particularly Mormon)?

I had in my mind Mormon plays by Mormon playwrights.

Slover isn’t particularly a topical writer, but a historical writer (which, IMO, is another interesting way of approaching crossing over beyond the Utah audience).

I agree, but in historical writing, it happens at the expense of Mormon topics. If the subject is Mormon and historical, its much harder to get an audience, verses Mormon and topical, wouldn’t you think?

BTW, I do think I should say that I’m NOT trying to advise playwrights about what to write about, or how important topic is vs. character.

What interests me here is what Mormon-themed plays are most likely to attract a non-Mormon audience. When I look back over the canon of Mormon theater, it seems more likely that a theater could get an audience here in New York (likely Off Broadway or of off Broadway) for topical works like Facing East (already done here) or Huebner or perhaps even Gadianton, than it does for Saturday’s Warrior or The Order is Love or even The Mantle of the Prophet.

Were you involved in the same DC-area production of Pearson’s The Order Is Love that I was, about 35 years ago?

I was. What memories!

I also remember the ludicrous rumor going around backstage that not just the play, but our production was going on to New York & to Broadway. In retrospect, very silly.

In retrospect, I’m glad I didn’t have to do any actual acting. All we had to do was sing a song and pretend to wear our our pants.

Did anyone who wasn’t LDS come? Again in retrospect, I rather doubt it.

I agree. I can’t stand Harlan Ellison any more than I can Jack Weyland because they’re both writing Viewpoint and Theme which is never as compelling or lasting as Character. I believe characters come first. And if they’re honest, the play will be honest.

Even works that a hugely point-driven (1984, Candide….) become lasting when they tell a story based in character that is honest and true.

First, are you talking only about Mormon plays by Mormon playwrights, or also non-Mormon plays by Mormon playwrights (meaning that the characters and themes aren’t particularly Mormon)?

Because, if the latter, Tim Slover’s has had his plays performed all over, especially his play _Joyful Noise_ abou t Handel, which has played in San Diego, New York, and theaters throughout the US and Canada. Also his two plays about Ben Franklin and Alexander Hamilton have had non-Utah performances, I believe.

Slover isn’t particularly a topical writer, but a historical writer (which, IMO, is another interesting way of approaching crossing over beyond the Utah audience).

There are a number of other Mormon playwrights who have played in New York (Eric Samuelsen and Elizabeth Hansen immediately come to mind).

Topical plays are dealt with pretty extensively by Eric Samuelsen and, now (as mentioned) Mel Larson. Samuelsen, especially, that’s kind of his forte.

My own plays _Fading Flower_ and _Friends of God_ could be seen as topical… they both deal pretty extensively with polygamy. But that was not my intent in writing them. I wanted to cover historical periods and characters (the RLDS/ LDS conflict and the
Martyrdom), so the topical element came in because polygamy was so entrenched in those periods and characters.

And that’s kind of how I view it: the topic should be second to the characters and events. When I choose a historical person or series of events, or when I write a purely fictional piece, then it’s usually based on a character that I’m drawn to, or an interesting story arc. I’m all about meaning and theme, but the topic usually comes from the well of the character, not the characters coming from the well of the topic. And that’s why _Little Happy Secrets_ works so much better than a play like _Facing East_. _Facing East_’s characters were a little more flat because it seemed so focused on the topic at hand, while the characters is what made _Little Happy Secrets_ so effective and touching.

So I try to stray away from topics, unless they’re deeply seated in character or, at least, plot. That doesn’t mean I won’t tackle topics. I want to do a Pro-Life play at some point… but I only wanted to do that after I found an interesting character who I think can carry the play. I believe that theme will always most effectively emerge from character.

My apologies to Kent then.

And, Wm, I’ll let you know when I have a shareable draft, if you would like to read it.