Earlier this month I taught lesson 33 from the Gospel Doctrine manual, which covered the succession issues after the martyrdom of Joseph and Hyrum Smith as well as the eagerness of the Saints to receive their endowments in the Nauvoo Temple before leaving for the West.
I came prepared to read from Clinton F. Larson’s lyric play/dramatic poem The Mantle of the Prophet, which is about the same period in church history as the lesson. I didn’t know for sure if I was going to get to it, both because of time and because I wasn’t sure how it would be received. In the end I went for it.
I quoted from a conversation between Sidney Rigdon and Brigham Young at the funeral bier for Joseph and Hyrum: more →
What made you decide to use Kickstarter specifically for the 2014 season of Zion Theatre Company? And why fund a whole season rather than, say, just an individual play?
I had a definite, focused plan in mind for what I wanted Zion Theatre Company to do in 2014, but the past couple of years we had cut it close on some of our plays–some of our plays did exceptionally well, some barely paid the costs, and some lost money. It all balanced out pretty well, at times it strained our accounts, which was discouraging since it’s been with the last few shows that we’ve seen our most enthusiastic audiences, a plethora of extremely positive reviews, and realistic hope for future success. Melissa Leilani Larson’s adaptation of Jane Austen’s Persuasion and my Farewell to Eden were especially impactful on audiences and critics and I think those shows did an excellent job in setting up expectations and enthusiasm for our future productions by showing exactly what kind of potential we actually have as a company.
So by trying to gain funds that would help us fund the entire season, instead of just going with money from play to play as we have, it takes off the nervous edge that if one show doesn’t do as well as the last one, then it doesn’t threaten to put the kabosh on the rest of our plans for the season. Having that nest egg allows us to focus on the quality of the current show instead of wondering if we spend our money on, you know, a good set, that we may not have enough money for the next show. It was a nervous place to be and we almost closed up shop after a couple of our shows didn’t do as well as some others in our season. So this long game tactic gives us an opportunity to focus on making the best show possible in the present, without worrying about the future. It gives us the security to up our quality.
Tell us about the programming: why those four plays? I’d be especially be interested in hearing just a bit more about the two new ones.
I would love to!
We’re doing two of my new shows, and two from other well known playwrights (one a classic, one a premiere). The two from other Utah-based playwrights are as follows: more →
As one of my last posts for A Motley Vision (I’ll go more into that in a different post) I wanted to conduct an interview with one of my favorite Mormon playwrights (one of my favorite playwrights, period), Melissa Leilani Larson. Mel has created a body of work that is impressive and moving, and she is one of Mormonism’s best and brightest dramatists. So without further ado:
1. So, first, tell us a briefly about yourself. Your personal, educational, creative background as a person and as a playwright, your interests, what makes you distinct?
Melissa Leilani Larson, photo taken by Alisia Packard
I’ve been writing for as long as I can remember. I’ve always been a voracious reader, and I think that love of reading led me to writing stories of my own. I wrote all through school, first grade on up, until I earned my BA in English/Creative Writing from BYU and later my MFA from the Iowa Playwrights Workshop.
As far as what makes me distinct… Fabulous actresses far outnumber the parts they can play. My ultimate goal is to write fascinating, engaging, and challenging roles for women. A lot of them—several strong female roles per play. That’s the distinction to which I aspire.
2. You were chiefly an English major/literary personality before you switched your focus to writing for a theatrical medium. What changed that direction? more →
KUER’s daily talk program Radio West looked at how Mormon and Utah culture is put on stage in Utah and how it is looked at in the world. The program asks the question, among others, “have the stereotypes of Utah’s dominant culture been satirized too much?” The program is prompted by the opening next month the annual production of Saturday’s Voyeur, the staging of four of Eric Samuelsen’s plays in Salt Lake this year, former LDS Church member Miguel Santana’s play and novel The Righteous and Very Real Housewives of Utah County, and the continuing success of Charles Lynn Frost’s Sister Dottie Dixon.
The discussion on the show included a roundtable of Samuelsen, Santana, KRCL’s Troy Williams (also a former LDS Church member) along with the show’s host, Doug Fabrizio.
Give it a listen (length 53:12) and feel free to come back here and comment.
After a half decade of delays, obstacles, research, and revising, I am so pleased that this behemoth is now ready to release onto an unsuspecting world! The plays it includes (from such Mormon Letters luminaries as Eric Samuelsen, Margaret Blair Young, Melissa Leilani Larson, Thomas F. Rogers, Susan E. Howe, James Arrington, Scott Bronson, Tim Slover, Robert Elliott, and Thom Duncan) have effected my life in profound ways and I hope other people will feel the same. They make up some of the finest accomplishments in the history of Mormon Drama. The volume is huge… nearly 700 pages. It has 11 plays, playwright biographies, and a 30+ page introduction on the history of Mormon drama. We’ve tried to be thorough, we’ve tried to give you something meaningful. I hope you’ll see why this is a project I thought was worth working and waiting for.
Saints on Stage is the most comprehensive and important work on Mormon drama ever published. This volume anthologizes some of Mormonism’s best plays from the last several decades, many of them published here for the first time. Several of these plays have won honors from institutions as varied as the Kennedy Center and the Association for Mormon Letters.
This volume includes historical backgrounds and playwright biographies, as well as an introduction that provides an extensive overview of Mormon drama. The following plays are included:
PRESS RELEASE: Zion Theatre Company celebrates Farewell to Eden’s 10th Anniversary with a Production at the Echo Theatre.
Ten years ago, Farewell to Eden premiered at Utah Valley University. The student written show by Mahonri Stewart was a success, selling out its run, prompting enthusiastic reviews, and going on to win second place in the Kennedy Center’s American College Theatre Festival’s national playwriting award, as well as snagging a KCACTF National Selection Team Fellowship Award. The strong showing the play presented at the Festival prompted one of the judges, Gary Garrison, to say that the play was “the most intelligently written play I have read [for the festival] in a decade.” For its ten year anniversary, Zion Theatre Company is remounting a production of the play directed by Ronnie Stringfellow on April 15-27.
Farewell to Eden takes place in Victorian England, circa 1840, and tells the story of Georgiana Highett and her siblings Thomas and Catherine, who have recently lost their father and are tasked with carrying on his legacy. When two men enter into Georgiana’s life, including a childhood love from her past, life spirals into a web of complications and conflicts that have a dramatic build and a philosophical tension. Georgiana and her family are put in a place where they have to prove their mettle or fall, leading to a number of twists, turns, hilarious comedy, heart tugging romance, and intense drama.