MtnView-NewPlayForum: Why Jacob & Kin?*

Thursday, September 17, 2009

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)

Mission Statement

▪~▪ to encourage, explore, develop, and launch new dramatic works devoted to the E's of theatre—i.e., to enlighten, edify, enrich, enthuse, elevate, educate, entertain, evoke empathy, etc.—all for the glory of God (1 Cor. 10:31).

The "E's of theatre" have a long and varied history, commented on by such men as Plato, Moliere, & Tolstoy.

▪▪▪▪▪▪▪▪▪▪

MV-NPForum is still in the process of development. It is hoped that its first script reading will take place sometime soon. There is much to do in preparation. At present, this Blog is not open to comments as there is not adequate time to properly review or respond to them.

When the time is right, a call will be made in a post for those interested in becoming involved with NewPlayForum and in the new play development (NPD) process. As time progresses we will need actors, directors, pianists (or other musicians according to script needs), sometimes designers, and sometimes small audiences. When a moderate production is scheduled, we will hope for larger audiences (paying a small admission to help defray what are hoped to be minimal costs.)

Philosophy of MV-NPForum

Beliefs
—▪ Let all things be done unto edifying. 1 Cor. 14:26
—▪ Do all to the glory of God. 1 Cor. 10:31

Principles
—▪ Respect the playwright's vision.
—▪ Don't assume a new play necessarily needs revising—it is the job of the actors and director to make it work. \\ Tom Diggs, The Dramatist, S/O:2008:35

Practices & Practicalities
—▪ No submission fees required.
—▪ No subsidiary rights requested.
—▪ Readings, workshops, productions, etc. will be minimalist to moderate with the emphasis on showcasing the SCRIPT.
—▪ All participants [including the playwright] will hang their egos outside the NPD door and prepare to don, when appropriate, the various Six Thinking Hats* in parallel.
—▪ All changes to a playwright’s script belong to the playwright, no matter where or from whom the suggestion or idea came.
—▪ The playwright will acknowledge, in all subsequent published scripts, the NPD involvement of MV-NewPlayForum.

*Six Thinking Hats of Edward de Bono: 1) Facts/Information; 2) Feelings/Intuitions; 3) Critical Judgment; 4) Positive Judgment; 5) Alternatives/Creative; and 6) The Big Picture

Relevant Quotes

▪ Val Lieske: Like any theatre company we have a mandate. Ours is hope—challenge—change. … I want people to leave my theatre different than when they came in, and yes. I want to offer a little hope in this often-depressing world. / Everyone starts a theatre company because they want to talk about something. … We all have an agenda, a message we want to get out. … I work hard to create theatre about relevant issues and current events, reassuring people that there is hope without glossing over the real darkness in the world. \\ “The Final Taboo,” Theatre Alberta News, Summer 2008:5

▪ Oscar Hammerstein: I see plays and read books that emphasize the seamy side of life, and the frenetic side and the tragic side, and I don’t deny the existence of the tragic and the frenetic. But I say that somebody has to keep saying that that isn’t all that there is in life. … We’re very likely to get thrown off our balance if we have such a preponderance of artists expressing the “wasteland philosophy.” \\ as quoted in Broadway Babies Say Goodnight by Mark Steyn, p.72

▪ Heinrich Heine said originally that the reason we could no longer build gothic cathedrals was because they were built from convictions, and we had only opinions. Lacking today the communal life that breeds convictions—no longer desirous of abstaining and abnegating self for the greater glory of God, the Christian era is now dying and nothing is yet here to replace it.” \\ Referenced by Clifford Odets in The Dramatist, Jan/Feb 2009:34

▪ Harley Granville-Barker: Behind the action, be the play farce or tragedy, there must be some spiritually significant idea or it will hang lifeless. \\ More Prefaces to Shakespeare , p. 146

▪ Lee Blessing: A play is a series of shifts in perception; culminating in the largest shift—the climax. … It makes the audience change—helps them to grow—to see the world differently. \\ The Dramatist, N/D 2008:49

▪ Apostle Paul: … whatsoever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things. \\ New Testament Philippians 4:8

▪ 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

(For additional quotes see blog entry of August 24, 2009)

SMSmith Backgound

▪ lifetime member of the Dramatists Guild of America, Inc. as of 2018 (associate member 1988-2018)
▪ member of Theatre Alberta Network (since 2001)
▪ member of Alberta Theatre Projects (6 years, 2004-2009)
▪ volunteer with Cardston Community Theatre (1996-2006~ varying roles: makeup, set painting, assist. stgmgr, light booth, programs, etc.) and CCT Board Member (2004-2006)
▪ volunteer with Carriage House Theatre (1998:sewing, 1999:makeup, 2000:set-dressing)
▪ extensive self-directed study in writing, playwriting, theatrical history, dramatic production, and new play development.

Summary of Dramatic Works
Musicals:
◊ Jacob & Kin ~ A musical in two acts (text, lyrics, & music) covering the 20-year period of Biblical Jacob’s sojourn in Haran (based on accounts from Legends of the Jews, The Book of Jasher, Josephus, & The Old Testament Pseudipigrapha); epublished (2018) at https://www.zanthymhouse.ca/musicals-plays/jacob-kin/ Also epublished in 15 May 2013 at Scribd.com

◊ Joseph: Down in Memphis Town ~ A Verse Musical in two acts covering the period from Joseph’s arrival in Egypt until his marriage to Asenath (based on the same sources as above); epublished (2019-02-14) at https://www.zanthymhouse.ca/musicals-plays/joseph-down-in-memphis-town/
◊ Tut Tut* ~ A study of modern flatland during a museum showing of Egyptian artifacts.

Three-act Plays:
◊ Voices From the Dust ~ Three sequential one-act plays based on the reigns of Kings Zeniff, Noah, and Limhi in the Book of Mormon;
◊ The Anniversary ~ The account of a man’s fall from grace and his female companions rise toward it—a story of two persons traveling in opposite directions.

Two-act Plays:
◊ Offering Up the Children* ~ A career woman’s ambivalence about committing to marriage in the midst of her preoccupations with staging a new play about the ancient practice of child sacrifice;
◊ My Son, My Son* ~ An account of King David’s inability to deal with his erring son Absalom, as he seeks forgiveness for his own sins.

One-act Plays:
◊ The Loved Ones ~ A young widow struggles to understand her place in her husband’s busy life after his death;
◊ The Unbelievers ~ A wayward child’s behavior is never dealt with until it is too late;
◊ Witness for Peter ~ A reconsideration of the Apostle Peter’s denial of his Lord, as seen through the eyes of his brother Andrew (based on comments by Spencer W. Kimball, Bruce C. Hafen, & Andrew Skinner); epublished 2018 at https://www.zanthymhouse.ca/plays/one-act/witness-for-peter/ Also epublished 3 March 2012 on Scribd.com

◊ One Digit Off * ~ A comedy of errors when a wrong number brings an eccentric stranger to the apartment of a newlywed couple;

◊ The Stage Manager* ~ An impressionistic study of attitudes and choices.

(* means these works are not completed, but in various stages of progress. I also have a novel and several stories completed, as well as others in various stages of progress. Note: completed is an arbitrary term because it seems that every time I revisit a “completed” work, I make revisions.)

Education:
- B.A.: Univ. of Lethbridge, 1970, Psychology
- Assoc. of Science: BYU, 1974, Law Enforcement & Justice Administration
- Juris Doctor: J. Reuben Clark Law School, BYU, 1980

MtnView-NewPlayForum

Thursday, September 17, 2009

Why Jacob & Kin?*

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SMSmith Backgound