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.
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[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.