It’s taken the better half of a decade, but Saints on Stage: An Anthology of Mormon Drama is off to the printers. This is the description of the book on Zarahemla Books’s website:
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:
Fires of the Mind â€“ Robert Elliott
HuebenerÂ â€“ Thomas F. Rogers
Burdens of EarthÂ â€“ Susan Elizabeth Howe
J. GoldenÂ â€“ James Arrington
Matters of the HeartÂ â€“ Thom Duncan
GadiantonÂ â€“ Eric Samuelsen
Hancock CountyÂ â€“ Tim Slover
StonesÂ â€“ J. Scott Bronson
Farewell to EdenÂ â€“ Mahonri Stewart
Martyrs’ CrossingÂ â€“ Melissa Leilani Larson
I Am Jane â€“ Margaret Blair Young
PRESS RELEASE: Zion Theatre Company celebrates Farewell to Edenâ€™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 Centerâ€™s American College Theatre Festivalâ€™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 â€œthe most intelligently written play I have read [for the festival] in a decade.â€ For its ten year anniversary, Zion Theatre Company is remounting a production of the play directed by Ronnie Stringfellow on April 15-27.Â
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 Georgianaâ€™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.
Continue reading “Zion Theatre Company Celebrates Farewell to Edenâ€™s 10th Anniversary with a Production at the Echo Theatre”
NOTE: This was written for a final paper in my Dramatic Writing MFA Writer’s Workshop class where I was supposed to apply Anne Bogart’s book A Director Prepares to my ownÂ work. Thus the navel gazing…
In her book A Director Prepares, Anne Bogart addresses various challenging experiences theatre artists face in creating their art. In the book she confronts Memory, Violence, Eroticism, Terror, Stereotype, Embarrassment, and Resistance. Although she writes from a directorâ€™s perspective, I found them particularly helpful from a playwright/screenwriterâ€™s point of view as well.
Having been both a director and a writer for the theater, I have found both creative processes put me in a similar place intellectually and emotionally (especially when Iâ€™ve been a director for my own work, it just seems to be a different step of the same process). Although I will write about how all of these qualities addressed by Bogart have affected my work in future posts, I would like to focus on each of them one at a time. So first on deck for this series of essays isâ€¦
In her book, Bogart states:
Theatre is about memory; it is an act of memory and description. There are plays and people and moments of history to revisit. Our cultural treasure trove is full to bursting. And the journeys will change us, make us better, bigger and more connected. We enjoy a rich, diverse and unique history and to celebrate it is to remember it. To remember it is to use it. To use it is to be true to who we are. A great deal of energy and imagination is demanded. And an interest in remembering and describing where we came from (p.39).
For me this statement from Bogart has resonance on so many levels. In my work, Iâ€™ve focused a great deal on historical drama, especially from my Mormon heritage. My intense interest in Mormon history has bled into a number of my works, reaching back as far as my high school juvenilia. Continue reading “Blinded by the Fire: Cultural Memory and the Response to My Mormon History Plays”