“Saints on Stage”

“Mormon” drama has had a long and winding road from Brigham Young's advocacy¹ (beginning in the late 1840s) and Orson F. Whitneys' prophetic: “We will yet have Miltons and Shakespeares of our own” (1888).² If you are amongst those who do not know the history (and vision) of “Mormon” drama, playwright Mahroni Stewart's, Saints on Stage: An Anthology of Mormon Drama is a good place to begin. If time is limited, the preview found here³ gives a flavor of that long and winding road.

Here are two quotes from Part 4: “Yet to Reveal Themselves”: The Future of Mormon Drama:

Stewart's concluding paragraph before the anthology begins is:

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1. One example: Brigham Young: “Upon the stage of a theatre can be represented in character, evil and its consequences, good and its happy results and rewards; the weakness and the follies of man, the magnanimity of virtue and the greatness of truth. The stage can be made to aid the pulpit in impressing upon the minds of a community an enlightened sense of a virtuous life, also a proper horror of the enormity of sin and a just dread of its consequences. The path of sin with its thorns and pitfalls, its gins and snares can be revealed, and how to shun it. // ... I wish those who perform to select a class of plays that will improve the public mind, and exalt the literary taste of the community.” Journal of Discourses, Vol.9, pp.243 & 245
2. See https://en.wikipedia.org/wiki/Orson_F._Whitney ; also http://mldb.byu.edu/homelit.htm 
3. URL: https://books.google.ca/books?id=9qGCAwAAQBAJ&printsec=frontcover#v=onepage&q&f=false

Where Are Our “Shakespeares”?

(One-hundred-thirty-one years in the wings?)

One of the most quoted phrases when speaking of gospel-based art is from an 1888 prophecy by Orson F. Whitney:

We will yet have Miltons and Shakespeares of our own.¹

So far as we know, our latter-day Shakespeares—our playwrights combining great language, historical knowledge, prescience, humor, understanding, insight, courage, vision, etc., etc.—are still in the wings OR are struggling to find audiences in this age of “Amusing Ourselves to Death.”².

Here are some recent thoughtful comments and insights:

▪ Where are the Mormon Shakespeares and Michelangelos?
by Jana Riess, June 30, 2017 at
https://religionnews.com/2017/06/30/where-are-the-mormon-shakespeares-and-michelangelos/

▪ Miltons & Shakespeares: a new direction
Thmazing 03/31/2014 at
https://motleyvision.org/2014/03/31/miltons-shakespeares-a-new-direction/

▪ Unrealistic Expectations of Mormon Miltons and Shakespeares
Posted on November 10, 2013 by jettboy at
https://www.millennialstar.org/unrealistic-expectations-of-mormon-miltons-and-shakespeares/

▪ Mormons Offer Cautionary Lesson on Sunny Outlook vs. Literary Greatness
by Mark Oppenheimer Nov. 8, 2013 at
https://www.nytimes.com/2013/11/09/us/mormons-offer-cautionary-lesson-on-sunny-outlook-vs-literary-greatness.html

Perhaps, we don't have to be or aspire to be a “Shakespeare.” Perhaps we need only to find and fulfill the measure of our own unique creation with the divine gifts and life experiences we have each been given.

We may also need to serve in “the role of artistic Eliases” as Eric Samuelsen wrote in 1995:³

Certainly, the Mormon Shakespeare will come in God’s good time; we must have patience, and we must continue to hope. But we must also begin doing what we can to prepare the way for future genius. Perhaps we must serve in the role of artistic Eliases [bold emphasis added] for the Shakespeare who will come. Yet, when I look at the question of building a Mormon drama today, I feel a greater sense of urgency than ever before. As the Church moves into greater prominence in American and world society, I am convinced that we, as a people and a culture, must begin defining ourselves dramatically.

Samuelsen's insight may be the key to revealing good and great playwrights—the artistic Eliases that go before. Can MV.NP Forum establish itself as one of those artistic Eliases?

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1. See https://en.wikipedia.org/wiki/Orson_F._Whitney ; also http://mldb.byu.edu/homelit.htm
2. Amusing Ourselves to Death by Neil Postman, succinctly explains why so much latter-day greatness, in every culture, has been and is being, stillborn.
3. See https://mv-npforum.blogspot.com/2009/08/another-voice-in-theatre-wilderness.html

“Gospel Vision of the Arts”

(The Gospel Vision of the Arts is the title of a July 1977 Ensign article adapted from a 1967 BYU Speech given by Spencer W. Kimball—52 years ago)

For those interested in past "LDS Arts" speeches and the somewhat current state of “LDS Arts,” here are a few resources:

▪ Education for Eternity: September 12, 1967 • BYU Speeches
SPENCER W. KIMBALL of the Quorum of the Twelve Apostles
Audio (47:12) but begin about minute 28 for the "Arts" portion of the talk at
https://speeches.byu.edu/talks/spencer-w-kimball/education-eternity/
Text (adaptation) at
https://www.churchofjesuschrist.org/study/ensign/1977/07/the-gospel-vision-of-the-arts?lang=eng

▪ The Arts and the Spirit of the Lord: February 1, 1976 Devotional
BOYD K. PACKER of the Quorum of the Twelve Apostles
Audio (48:19) and text available at
https://speeches.byu.edu/talks/boyd-k-packer/arts-spirit-lord/

▪ The Gospel Vision of the Arts + the Mormon Renaissance
by Seer [Mormon Art] with Jessica Bingham Young (Time10:56), published Nov 30, 2017 at
https://www.youtube.com/watch?v=QWxMULY8-Kg

▪ My Thoughts on Spencer W. Kimball’s Gospel Vision of the Arts
J. Kirk Richards, MAY 27, 2012 at
https://jkirkrichards.wpcomstaging.com/2012/05/27/my-thoughts-on-spencer-w-kimballs-gospel-vision-of-the-arts/

▪ Interview: J. Kirk Richards and the Gospel Vision of the Arts
November 17, 2016 by ASHMAE at
https://bycommonconsent.com/2016/11/17/85019/

▪ The future of Mormon art? Scholars and artists gather in New York to explore the possibilities
by Mariya Manzhos for the Deseret News, published: July 5, 2017 at
https://www.deseretnews.com/article/865684235/The-future-of-Mormon-art-Scholars-and-artists-gather-in-New-York-to-explore-the-possibilities.html

▪ First-Ever Mormon Arts Festival Set to Open in New York
by Madeleine Tolk | Jun. 27, 2017 Mormon Life at
http://www.ldsliving.com/First-Ever-Mormon-Arts-Festival-Set-to-Open-in-New-York/s/85733

▪ Zion Art Society at https://www.zionartsociety.org/

In President Kimball's 1977 Ensign article his first words were:

"In our world, there have risen brilliant stars in drama, music, literature, sculpture, painting, science, and all the graces. For long years I have had a vision of members of the Church greatly increasing their already strong positions of excellence till the eyes of all the world will be upon us."

And yes, since 1977, we have seen some great progress in support and recognition for artists creating (or performing) music, literature, sculpture, and painting, yet drama, the first mentioned in the list, remains, to large extent, the neglected child in terms of opportunities and support. So, perhaps it is time now for MV.NP Forum to step-up to the NPD stage and do what it can in the cause of drama.

The task may seem overwhelming because, in part, theatre often encompasses all the other arts in its development and presentations: music, literature, sculpture, and painting, not to mention the need for many active, committed participants. Yet, working together, we can begin. Let's do it, Mountain View. Let's take up the torch for drama and NPD.

Theatre of the Good?

In the year 2000 and 2001, Douglas Abel—actor, educator, and playwright—wrote a series of articles for Theatre Alberta News¹ (TAN) titled, Theatre of the Good. Here are three quotes from the first article:

The particular epiphany [about “theatre of the Good”] occurred during a lunch time discussion session with special guest Joy Coghill, celebrated actress, director and theatre pioneer. ... She began by describing how she got started in theatre, mentioning the fact that her father was a clergyman, and that her family had a strong missionary background. She had even considered missionary work herself when she was young. She was asked how and why, with such a church tradition behind her, she had decided to pursue a career in theatre. Her answer—not word for word but as close as I can remember it—was. “Well they're very similar, aren't they? I never really saw much difference between working as a missionary and working in the theatre.” ...

Ms. Coghill went on to describe [her introduction to] the powerful concept of “theatre of the Good.”

... [A]s I began to understand it fully, it involves the conviction that theatre can, and must, do good for people and the world, that it must strive to make both better. Theatre can be used for trivial, frivolous, or even harmful purposes. It should be used to promote the good in all its forms. That purpose comprises its link to the divine, and comes, somehow from the same spiritual sources that drive the best of “religious” impulses. Theatre people are missionaries because they are doing the same essential work as those who spread “the word.”

What does “theatre of the Good” mean to ... [Douglas Abel] ... ? [I]t does not mean that theatre becomes a dry sermon with dialogue, or a “Back to the Bible”—any bible—with intermission. It does not demand the joyless, prescriptive, pedantic or “preachy.” Theatre of the Good does not eliminate comedy, entertainment, enjoyment, mischief, wonder or plain fun. It does give all these things a purpose, as well as a standard against which both day-to-day and long-term work can be judged. It provides a benchmark for deciding which work should be chosen for performance, and how it should be performed.

This was written almost 20 years ago. If Theatre of the Good had been instituted as a standard and benchmark for even half of our influential theatre companies, would the world be a different place, today?

Sometime ago, I wrote this observation:

When we glorify the anti-hero—that "natural man" who strides so boldly and pervasively through our modern drama, cinema, and literature—we miscalculate the measure of our creation. But when "all things are done unto edifying," then our gifts redound to the glory of God, and His light expands a little more into the darkness.

-------------------/
1. Theatre Alberta News, Winter 2000:1, p. 3

Community Theatre Forms

PDFs of several Community Theatre Forms

    are now available for downloading

on a pay what you wish (or not) basis at 

       https://www.zanthymhouse.ca

Theatre Forms for Fund-Raising

Over the years, as I have avidly read about theatre, participated (backstage) in community theatre projects, and dreamed of “New Play Development,” I have collated my thoughts and learning into forms that I intended to eventually use in NPD projects. Recently I have come to think these forms could benefit volunteer-based community theatres everywhere, (and thus MV-NPForum).

The first five of these forms are now available for purchase and download at Scribd.com:

(I) Theatre Forms: (1) The Actor’s Code (Scribd doc. 158673935)
(II) Theatre Forms: (2) Audition Tips; (3) Audition Procedure / Casting (Scribd doc. 158745578)
(III) Theatre Forms: (4) Audition Form; (5) Audition Notes (Scribd doc. 158755472)

Searching "Theatre Forms" should bring them to the top.

The cost to purchase these forms is minimal (to encourage purchase) with the hope that the income derived therefrom will help fund the beginnings of MV-NPForum. They can be purchased individually OR as a collection for a 10% discount.

SO, please let as many Community Theatres as you can, know about these forms and maybe MV-NPForum will have its first NPD in 2014.

2019 Update:

These forms are now available for downloading on a pay what you wish (or not) basis at
https://www.zanthymhouse.ca

Jacob & Kin ~ online

The Jacob & Kin musical script is now available online at Scribd.com. The first three scenes of Act I can be read for free. This is the first intended NPD (new play development) for MV-NPForum. Purchase of the script for reading online (no downloads) will help fund the playwright's work.

http://www.scribd.com/doc/141704987/Jacob-Kin

2019 Update:

The complete Jacob & Kin libretto is now available for reading at
https://www.zanthymhouse.ca/musicals-plays/jacob-kin/

HOPE springs eternal ...

Several years ago I came across an article* that I have referred to several times in seeking to understand why desires and hopes are sometimes delayed. The concepts seem to apply to the desires set forth in this blog and to the hopes I have for MtnView-New Play Forum. The article is entitled, “Gleanings in Genesis: 32. Jacob’s Departure from Haran,” which is both fitting and ironic because my first proposed development project for MV-NPF is a musical entitled, Jacob & Kin.

The last three paragraphs of the article set forth THREE suggested gleanings that might help us understand the timing of God’s will in moving forward with the desires of our hearts. First, "a definite desire" springs up; second, ‘circumstances become such that a move [forward] seems the wise thing,’ (though this may be long delayed as with Jacob); and thirdly, “there [is] a clear word from God.”

When I read about these three gleanings, I thought how much they synced with the “Law of Witnesses”:

And in the mouth of three witnesses shall these things be established; and the testimony of three, and this work, in the which shall be shown forth the power of God and also his word, of which the Father, and the Son, and the Holy Ghost bear record .... (Book of Mormon Ether 5:4; see also D & C 6:28; 128:3; New Testament Matthew 18:16 and 2 Cor. 13:1)

As I have seen family, friends, and others pursue worthy dreams that have failed despite their passion for and commitment to the work of their dreams, I have wondered if their first failure was to believe that “desire” was the governing and “moving”  principle. But as Mr. Pink writes:

The most important thing is to wait on God. Tell Him your perplexity, ask Him to prevent you from making any mistake, cry earnestly to Him to make "plain His way before your face" (Ps. 5:8), and then "wait patiently" till He does so. Remember that "whatsoever is not of faith is sin." (Rom. 4:23). If you are sincere and patient, and pray in faith, then, in His own good time and way, He will most certainly answer, either by removing the conviction or desire from your heart, and arranging your circumstances in such a manner that your way is blocked- and then you will know His time for you to move has not arrived- or, by deepening your conviction, so ordering your circumstances as that the way is opened up ..., and by speaking definitely through His written Word. "Commit thy way unto the Lord, trust also in Him, and He shall bring it to pass. (Ps. 37:5).

And so, for the time being, I try to prepare as best I can for what may come to pass when the time is right.

For those who are interested in reading the script, Jacob & Kin, it can be found at Scribd.com: http://www.scribd.com/doc/141704987/Jacob-Kin . A portion of it can be read for free.

2019 Update:

The complete Jacob & Kin libretto is now available for reading at
https://www.zanthymhouse.ca/musicals-plays/jacob-kin/

--------------------/
* http://www.biblebelievers.com/Pink/Gleanings_Genesis/genesis_32.htm OR http://www.pbministries.org/books/pink/Gleanings_Genesis/genesis_32.htm
** The author of the article is Arthur W. Pink (1886-1952), an English Christian evangelist: http://en.wikipedia.org/wiki/Arthur_Pink

Update

As usual, with dreams, visions, hopes, and plans, things seldom go as one wishes. Things are going to take more time I guess (now 20 years and counting), but someday! someway! there will be the first MV-NPForum play ... and then plays, plays, plays!

Why Jacob & Kin?*

*(See Sept. 16, 2009 post: "Proposed 1st Project")

• Jacob & Kin has been looking for a production opportunity for 20 years: the same length of time that Jacob was in Haran!
• The LDS Church Sunday curriculum for 2010 is Old Testament which could be a great marketing draw in this area.
• The story of Jacob & Kin is known in Christian, Jewish, & Islamic religious traditions.
• Jacob & Kin portrays universal truths of struggle, repentance, forgiveness, trust in God, and reconciliation of family after seemingly unforgivable offenses.
• It could be a community & family adventure to explore the idea of Mountain View becoming a centre for launching new plays and giving h.o.p.e. to emerging playwrights from all over North America (& maybe beyond). We can start small with local playwrights; then see where it goes, and perhaps this scriptural encouragment can apply to MtnView-NewPlayForum:
  

  Wherefore, be not weary in well–doing, for ye are laying the foundation of a great work. And out of small things proceedeth that which is great. (D&C 64:33)

Proposed 1st Project

Jacob & Kin (A musical in two acts) by SMSmith
Copyright of musical registered in Canada, March 18, 1998

Jacob & Kin is based on Biblical Jacob’s 20-year sojourn in Haran. The events, which go beyond the familiar story in Genesis, are based on The Legends of the Jews, The Book of Jasher, Josephus, and The Old Testament Pseudepigrapha. These stories have a wonderful mix of humor and emotion which I have sought to translate onto the stage.

The play begins with Jacob’s flight from home after incurring the wrath of his bother, Esau. Esau sends Eliphaz, his son, to steal Jacob’s provisions en route and to kill him, but Eliphaz elects to leave Jacob destitute and to let harsh nature takes its course. In his harrowing dilemma, Jacob vows never to offend God or his brother again, if only he can survive the journey. Provisions are miraculously supplied and Jacob soon reaches his Uncle Laban’s home in Haran where he encounters three shepherds, then Rachel, and then Laban. Laban is upset that there are no dowry gifts, but they finally work things out for Jacob’s 7-year service to mete out the family’s previous marriage arrangements: second-born daughter Rachel for second-born Jacob. (Of course, first-born Leah was covenanted to first-born Esau. However, Leah is adamant that she will not marry rebellious Esau. She vows to remain unwed.) Laban soon decides the marriage agreement can justify Jacob’s marriage to both his daughters. Rachel has anticipated this plan and warns Jacob who finds it too impossible to believe.

When the seven years are up, Rachel and Leah find themselves in an impossible situation—their father’s command; Jacob’s vow never to offend his brother again; and Rachel’s revelation that they are to cooperate with the deception of Jacob. The wedding goes off without a hitch despite the effort organized by the three shepherds to warn Jacob of the switch in brides.

The following morning (Act II), on finding himself married to Esau’s espoused, Jacob is distraught, believing he can never go home again. Laban wrangles another seven years of service for Rachel though the marriage takes place within the week. Over the next years, seven sons and a twin daughter are born to Leah and none to Rachel which causes a rift between the sisters which is finally reconciled. Thereafter, a son, Joseph is born to Rachel.

When his 14-years of service are up, Jacob attempts to leave, but is denied provisions for the journey and is forced to work to accumulate what he needs. He is blessed abundantly despite Laban’s finagling of contract terms. Finally, after another 6 years, Jacob can endure the exile from his home no longer and takes courage in hand to leave, but does so while Laban is away in order to avoid confrontation and the possible prevention of his wives and children accompanying him.

Jacob fears meeting his brother Esau, but decides to trust in God. Laban pursues the departed family, but is too intimidated by Jacob’s God to do more than send word to Esau trying to inflame the situation so he can get his beloved grandchildren back.

Meanwhile, a reformed Eliphaz tries to calm his father’s wrath, but apparently to no avail, so Laban’s messenger (son Beor) rushes the dreadful news of Esau’s intent to wipe the memory of Jacob from the earth—meaning all the beloved grandchildren.

Eliphaz keeps up his pleas for calm and by the time Esau and Jacob face one another, they are each ready to ask for and to extend forgiveness. They join with Leah and Rachel in counseling the children (in song) about how to handle life’s troubles. As they near the end of the song, Laban and entourage burst in, in panting, desperate defense of Jacob’s family. There is a long pause as everyone sorts out the unexpected scene, and then, in the midst of joyful reconciliation, the play ends.

The musical is approximately two & ¼ hours long with 20 song segments.

Much of the music is intended to be acappella (with music driven by the words in old troubadour / minstrel fashion), with an occasional solo wind accompaniment as directed in the melody sheets.

CAST and ages are as follows (in order of appearance):
Old Patriarch 80's
Esau (elder twin brother of Jacob) 39
Eliphaz (son of Esau)15
Jacob 39
Shepherd One 70
Shepherd Two 50
Shepherd Three (Naahyem) 21
Rachel (2nd daughter of Laban–twin) 21
Laban (uncle to Jacob) 60
Leah (1st daughter of Laban–twin) 21
Servant One (female) older
Servant Two (female) young
Servants (male & female)
Wedding Guests (male & female)
Bilhah (maid to Rachel) 28
Zilpah (maid to Leah) 26
Reuben (son of Leah) 13
Simeon (son of Leah) 12
Levi (son of Leah) 11
Judah (son of Leah) 10
Dan (son of Bilhah) 10
Naphtali (son of Bilhah) 09
Gad (son of Zilpah) 09
Asher (son of Zilpah) 08
Issachar (son of Leah) 08
Zebulun (son of Leah–twin) 07
Dinah (daughter of Leah–twin) 07
Joseph (son of Rachel) 06
Beor (son of Laban) 17

SONGS are as follows:
Act One
A LITTLE BIT OF TROUBLE by JACOB & ESAU
YOU'LL GET FLEECED by SHEPHERDS ONE & TWO
I PRAY IT’S THE PLACE by JACOB
WHY HAS IT TAKEN SO LONG? by LABAN
I WISH I WERE A MAN by LEAH
HE'S COME TRUE by RACHEL
IMPOSSIBLE (I) by JACOB
OH, WHAT A SIGHT by THREE SHEPHERDS
SOMETIMES by LEAH & RACHEL
HALIA by WEDDING GUESTS

Act Two
IMPOSSIBLE (II) by JACOB
THERE'S A LITTLE BIT OF TROUBLE by WOMEN SERVANTS
SOMETIMES (Brief Reprise)by OLD PATRIARCH
REMEMBER HER by JACOB FAMILY
SIX MORE YEARS by THREE SHEPHERDS
SAYING, GOODBYE by JACOB FAMILY
WE HAVE MARCHED by THE ESCORT
MAN OF PERFECTIONS by LABAN & ESCORT
WHO IS YOUR BROTHER? by ELIPHAZ
IT'S WORTH A LITTLE TROUBLE by ESAU, JACOB FAMILY, ELIPHAZ, & entire COMPANY

Why NewPlayForum?

• Live theatre is a powerful means to transmit values, heritage, and culture.
  
• Emerging and established playwrights need a place to hear, see, and explore their new works.
  
• There are hundreds of new, values-oriented plays that await developmental and/or production opportunities.
  
• NewPlayForum work can range from readings to workshops to moderate productions.
  
• Opportunities through NewPlayForum could encourage more writing of values-oriented theatre.
  
• NewPlayForum could train directors, actors, designers, and audiences in the nuances and protocol of new play development (NPD).
  
• NewPlayForum can showcase scripts without expensive production values.

The Day of the [Theatre] Amateur

~~~~
In 2007, Gary Garrison, executive director~creative affairs of the Dramatists Guild of America, wrote:

Most of our countries greatest dramatists, lyricists, composers, and librettists never had a formal education in their discipline. \\ The Dramatist, July/August 2007:G2 (GuildWorks)

What a fascinating observation and confession by a theatre professional!—especially in this world that seems obsessed with certifying capability by way of university degrees and specializations. But it brings to mind the 1971 essay by Hugh Nibley entitled “The Day of the Amateur”:

… Someone (this writer, in fact) has said that anyone can become a dean, a professor, a department head, a chancellor, or a custodian by appointment—it has happened thousands of times; but since the world began, no one has ever become an artist, a scientist, or a scholar by appointment. The professional may be a dud, but to get any recognition, the amateur has to be good. To maintain his amateur status, moreover, he has to be dedicated, honest, and incorruptible—from which irksome necessity the professional, unless he cares otherwise, is freed by an official certificate.

Do Americans have to apologize for generations of ingenious amateurs from Franklin to Ford, who fathered their modern technology? Or for Ives and Carpenter, their best composers? [etc, etc.] ...

Of course there has always been protest from the professional side: ... Emerson, "the wisest American," was banned from the campus of Harvard for his famous "American Scholar" address, which proclaimed that one did not have to be a professional to be a true thinker and scholar. ...

Not long ago one of the world’s greatest violinists was barred from the music faculty of a west-coast university solely because he did not have a degree, ...

(Hugh Nibley, “The Day of the Amateur,” New Era, Jan. 1971, 42-44. Reprinted in Brother Brigham Challenges the Saints, edited by Don E. Norton and Shirley S. Ricks [Salt Lake City and Provo: Deseret Book Co., Foundation for Ancient Research and Mormon Studies, 1994], 303-304.)

Which brings us back to the h.o.p.e. and vision of NPForum. Sometimes we amateur dramatists, lyricists, composers, and librettists think our helpmates in theatre production need to be professionals in order to give our works the best possible presentation/production. Then, because the access to and cost of those professionals is beyond our means, we waste energy and years in frustrated non-production. But artistic gifts are not doled out with BFA or MFA degrees, so perhaps it is a form of denying the gifts of God when we overlook or discount the talent of local amateurs (actors, directors, designers, etc.) as we wait for artistic professionals to “bless” our works. That is not to say that many professionals are not gifted, or that “amateur” gifts cannot be immeasurably improved with education, study, and training. But, it is to say, that in our local communities, we may have amateurs who gifts are equal to, perhaps even surpassing, those of the highly trained.

Thus, the hope is that local amateurs on every level will feel inspired by the mission of NPForum to develop, express, and honor their gifts and that playwrights will have confidence to look to the gifts of God in others, whether designated amateur or professional.

Another Voice in the Theatre Wilderness

(A few excerpts from Eric Samuelsen, Assistant Professor of Theatre and Film at Brigham Young University, "Whither Mormon Drama? Look First To a Theatre," BYU Studies, vol. 35 (1995), Number 1--1995 .)

... Given this remarkably supportive history [of early church leaders for theatre], LDS playwrights have in recent decades begun to entertain thoughts of creating a more substantial body of dramatic literature. In fact, this dream of a Mormon drama was prophesied by Elder Orson F. Whitney, who talked of the coming of a "Mormon Shakespeare" and spoke of a dramatic literature "whose top shall touch heaven,"[1] a prophecy which has been echoed by Elder Boyd K. Packer, President Spencer W. Kimball,[2] and others. As a result, a number of Mormon writers and scholars—myself included—have dared to share the hope that someday we will be able to point with pride to plays of genuine substance and interest, written by and perhaps, but not necessarily, about Mormons; plays which unapologetically demonstrate the richness and profundity of the teachings of our prophets, while honestly and forthrightly exploring elements of our culture which fall short of those teachings. We hope in time to have a drama with sufficient universality and power to become as much a part of the canon of world drama as the plays of Sophocles, Shakespeare, or Shaw, or, perhaps more accurately, we hope that as the canon expands, room will be found in it for plays with Mormonism at their center, as, in fact, Elder Whitney’s prophesy suggests. With characteristic Mormon optimism, we have managed to cling to the hope, in the face of all existing evidence, that such a drama will someday be written and performed. …

… Certainly, the Mormon Shakespeare will come in God’s good time; we must have patience, and we must continue to hope. But we must also begin doing what we can to prepare the way for future genius. Perhaps we must serve in the role of artistic Eliases [emphasis added by SMS] for the Shakespeare who will come. Yet, when I look at the question of building a Mormon drama today, I feel a greater sense of urgency than ever before. As the Church moves into greater prominence in American and world society, I am convinced that we, as a people and a culture, must begin defining ourselves dramatically. …

Once again, drama—an art form that is unusually indicative of culture—remains the poor stepchild of Mormon letters. And so we must ask the question, Why have none of the writers who have shown promise in drama ever progressed beyond mere potential? I am convinced that the fault lies neither in a lack of talent nor in an excess of religiosity. Rather, our best writers in this field have, in my view, suffered from the lack of a sustaining theatrical environment in which they could flourish. …

What such playwrights need is a theater. The great eras of the world’s dramatic literature have tended to come after the establishment of theaters and theatre companies sufficiently robust to support them. Further, those theaters have always been subsidized to some degree—either financially underwritten or politically supported—and the reality is that the need for such subsidies is greater now than ever. In short, we will never develop a satisfying Mormon drama until we have established and supported a theater from which such drama might emerge. The Mormon Shakespeare needs a Mormon Globe. …

The dream of a Mormon drama must be realized step by step, line upon line. If that dream is to become a reality, we must do more than simply write plays, sponsor contests, or deliver papers—although those are helpful steps. Efforts must first be concentrated on the immediate task at hand: the building of an audience, the building of a theatre. Years from now, when a Mormon drama does arise, it will not only articulate, but also constructively transform Mormon culture. It will be a drama of prophetic power and courage. If a Mormon drama is not created within the household of faith, the dramatic role of Mormonism will remain a bit part oddly cast on the stages of strangers and foreigners.
-----------------
[1] Boyd K. Packer, "That All May Be Edified" (Salt Lake City: Bookcraft, 1982), 276
[2] See, for example, Edward L. Kimball, ed., The Teachings of Spencer W. Kimball (Salt Lake City: Bookcraft, 1982), 393.