From the days of Joseph Smith, who fostered drama in Nauvoo, Ill., and Brigham Young, who promoted the construction and use of the Social Hall in early Salt Lake City, Latter-day Saints have been intimately involved with theater.
Several stake stage productions this year demonstrate that the theatrical tradition still thrives in the LDS culture, despite financial restrictions, and competing pressures in the lives of Church members.In fact, some local Church productions approach a level of professionalism and technical sophistication that would have been inconceivable a decade ago. Many Church members are professionally involved in cultural arts and electronic media. Even some non-professionals are highly educated, skilled or experienced. When such members give their time and lend their expertise to a stake production, it can take on an impressive polish.
In addition, the technological age has made many tools more accessible. Thus, a stake production might be enhanced by computer-aided music production and arrangement, multi-track recording, electronic musical instruments, video production, multi-media presentation, and dazzling special effects.
In some respects, talent and widespread participation can compensate for a tight budget. Indeed local Church productions are most effective when many help, according to Robert L. Leake, administrative assistant in the Priesthood Department with reponsibility over activities.
"The effort ought to be based on participation and the opportunity to develop new talents and share talents," he said. "Nothing takes the place of hands-on participation. We can enjoy watching a musical or drama, or a film or TV program, but there is nothing quite like young people - and the more mature as well - getting a chance to be involved. That adds another dimension to it for the people involved, a sense of community and ownership."
More and more, shows are being produced from original scripts written by Church members on a local level. That is an important change that comes with growth, said Brother Leake, who added that the Church now has fewer than 20 scripts available at distribution centers. In the days of the old MIA programs, there were hundreds.
"Before the Church grew so large and had to adjust to being international, it was relatively easy to produce scripts and resource materials from Church headquarters to send to everybody. Nowadays, you just can't do it for all the cultures and different ethnic groups that are part of the Church membership. We rely on local priesthood leaders and talented people to do what Church headquarters used to do."
One benefit of an original script is that it can be tailored to the needs of the community. Often, local productions help introduce interested non-members to the Church or solidify the interest they already have.
This year, several stake productions have been based on the Book of Mormon, consistent with President Ezra Taft Benson's appeal at October 1988 general conference: "I have a vision of artists putting into film, drama, literature, music, and paintings great themes and great characters from the Book of Mormon."
Other productions centered on the part Church members played in the settlement of the local area, or simply exemplified gospel principles.
In any case, the stage shows became missionary tools as stake members brought their non-member friends to witness the productions.
"If you consider the stake being part of a broader community, these kinds of functions are excellent for all who are interested, regardless of religious affiliation," Brother Leake said. "In many instances, people of other religious affiliations actually participate in the production."
Following are brief profiles of seven stake productions presented this year, in the order they were presented. With one exception, they were produced from original scripts. All involved the talents and efforts of many stake members.
Salt Lake Highland Stake
"Voices in the Dust," a contemporary musical play about the Book of Mormon, was presented March 8-9 to overflow audiences at the stake center.
In the play, members of an LDS family discussed the Book of Mormon with an "Everyman" character speaking to them from a large television screen. (The "Everyman" actor was recorded on videotape beforehand, making it necessary for the live actors to have their timing well developed.)
The conversations segued into vignettes, choruses and choreographed segments depicting the history and doctrine of the Book of Mormon. Nearly 150 stake members were involved in the cast and production staff.
Instrumental music, some of which was used with permission from professional LDS composers, was pre-recorded with stake members playing the instruments. Margaret Smoot, a stake member who has worked in broadcast media, wrote the script.
Gary R. Bengtzen, a counselor in the stake presidency, said the production was kept within the budget guidelines, as much of the equipment was borrowed, and costumes came from resources at hand.
Rae Ann Lund, director, said the entire production was virtually drawn from the resources of the stake; thus there was particular significance in the title of one of the songs in the show: "Nothing's Too Hard for the Lord."
Idaho Falls Ammon Stake
To celebrate the centennial of the Ammon 1st Ward and to honor the pioneers who settled the land described by early explorers as "unquestionably the most barren of all mountain deserts," the stake presented a musical drama, "Beyond Each Mountain" March 12-14.
More tha 1,000 people attended the show, which had a cast of nearly 90, a production crew of 25, and a 15-piece orchestra.
Enid Davis, a member of the Ammon West Stake, wrote the play in 1982, for a July 24th presentation. She had just completed the Ammon stake history and said she felt a close bond to early settlers of the Snake River Valley. Cathy Chivers Johnson, an Idaho Falls resident at the time, composed the music.
The play follows a couple in Salt Lake City as they leave the comforts of their home and travel to Idaho to live in a dugout. It tells of the despair and anxiety that the wife, Lydia, experiences with the problems and challenges of sickness, water shortage, climate and extremities and a husband away on a mission. Gospel principles are exemplified through the couple's second son, who is disabled, as well as through a non-member family.
Shari Chadwick, who played the lead role in both the 1982 and 1991 productions, said the play mirrors her own life, as she and her husband faced their own challenges when they moved to Idaho from Colorado.
Cedar Mill Oregon State
Five performances of "III Nephi" -- including a special one for seminary students throughout western Portland -- were presented March 24-27.
The script is among those available from Church headquarters, but this production was unique because it was the centerpiece for a unified experience for the entire stake to teach members about the Book of Mormon.
Judy Hatch, stake cultural arts specialist, said the effort included several components.
A special family home evening manual was prepared containing three lessons keyed to the upcoming show and was introduced at sacrament meetings by high council speakers.
At a stake youth fireside, three speakers each talked on one of the prophets of 3 Nephi, an adult speaker encouraged the youth to bring non-member friends to one of the performances, and actors portraying Samuel, Mormon and Nephi made a surprise appearance.
Children in all ward junior and senior Primaries were given a special program to acquaint them with "III Nephi," and actors portraying Book of Mormon prophets interacted with the children.
Attendance at the performances was about 2,300, including some 400 non-members.
Salt Lake Cottonwood Heights Stake
In place of traditional roadshows, the stake Young Men and Young Women this year presented "No Other Name" on April 18 and 19.
Producer/director Carol Lasson and others wrote an original script and music for the production, with Mosiah 3:17 as the theme. Young Men and Young Women from each ward in the stake presented a segment.
Told through the eyes of a missionary as he struggles to gain a testimony by reading the Book of Mormon, the play re-enacts scenes involving Nephi, King Benjamin, Abinadi, King Noah, Alma the Younger, the Brother of Jared, Ammon, King Lamoni, Helaman and the stripling warriors, Samuel the Lamanite and Moroni. Sister Lasson said it met the goal of involving as many youth as possible while maintaining scriptural accuracy.
Three main performances and a cast performance were followed by a cast testimony meeting in which the young people expressed their feelings about the Savior and the Book of Mormon. At a subsequent youth conference, testimonies were more Christ-oriented than usual, Sister Lasson reported, and young people in the stake now identify more closely with events in the Book of Mormon as they read it.
Syracuse Utah Stake
A call issued from then-Stake Pres. Sheldon F. Child to four stake members culminated 17 months later in the presentation April 24-26 of "Within One Heart."
Pres. Child set apart the stake members to create an original musical.
"It was his desire that the play deliver not only an evening of family entertainment, but more important, portray with a message of hope and endurance the elements that could strengthen families," said script writer Kaye Volk, who collaborated on the story with Connee Garrett and worked with stake play specialist Michael K. Gailey.
Based in part on the experience of a Syracuse resident, it tells of a young girl named Caroline growing up in a less-active LDS family and her struggle to hold on to the teachings of the gospel.
The story is basically told in flashbacks as Caroline, now with grown children of her own, struggles with the difficult decision to leave her home and grandchildren to serve a mission with her husband."
Everyone who wanted to participate was allowed, and more than 100 cast members were involved.
Sister Volk and Sister Garrett collaborated with music director Tom Carruth. He used computer programs and synthesizers to create rehearsal tapes, printed sheet music and full orchestration for performances. Playing the music through a computer allowed for tempo control necessary for a live performance.
"Except for a borrowed stage extension and assistance of a professional sound and lighting team, the entire work was accomplished with the support of stake members, and most important, by the ever sought for Spirit of the Lord," Sister Volk reflected.
Federal Way Washington Stake
"Lamoni," an original musical by A. Kathryn Wright based on the events beginning in Alma 17, was presented May 3,4,10 and 11. The play was first produced in November, 1989, in Sister Wright's stake, the Seattle Washington Shoreline Stake.
Regarding its conception, Sister Wright recalled: "I began writing Lamoni in 1984, when a strange tune came persistently to my mind four times. As I was finally writing it down a strong feeling came that this was the beginning of a Book of Mormon musical, and that this first tune was to be the song the Lamanite queen would sing at the bedside of her husband after his collapse. The song was named, "But Now You Sleep."
Other tunes came to her mind, and over five years, the musical took shape. Sister Wright, a graduate student in music at the University of Washington, purchased an electronic keyboard and computer equipment to record the music.
That was a great help to the Federal Way stake's production, said Ron Arndt St., adviser to the production. Federal Way used Sister Wright's pre-recorded music and borrowed sets from the prior production, helping control costs.
Brother Arndt suggested that a stake should have performances over two weekends for a major production. That gives Church members a chance to attend one performance and then bring their non-member friends to a subsequent performance.
"Our audiences were 10 percent non-members at the first couple of showings, and on the second weekend they were almost 35 percent non-members," he said.
Snowflake Arizona Stake
"A Light in the Wilderness," an original musical dramatization of the opening chapters of the Book of Mormon, was presented at the Lobo Auditorium July 18-20, three years after author Jo An Washburn began writing the script.
She said writing the play was like going on a mission.
"I felt extremely inadequate," she said, "but remembering that the Lord had promised He could make our weaknesses strenghts, I began. Many times a day I would go to my knees and ask Heavenly Father for His help."
Last year, nine musicians were asked if they could write musical ideas for any of the lyrics. They were willing, but doubted it could be accomplished within the two weeks allotted.
However, they returned with 51 song ideas.
"Two women who said they couldn't help reported that they couldn't get the play and its music off their minds." Sister Washburn said. "They wrote in between meetings, riding in the car, every place. Seven of their songs are in the play today."
The stake was fortunate to recruit Robert Peterson, a professional actor and singer, and a veteran of many LDS-productions, for the role of Lehi.
Sister Washburn is now writing a sequal based on Lehi's family's journey to the Promised Land.
(Additional information)
Resources make it easier to stage successful show
"If I were placed on a cannibal island and given the task of civilizing its people," Brigham Young reportedly said, "I should straightway build a theatre for the purpose."
Some Church members faced with the assignment to put on a stage show may feel totally devoid of resources, as if they had been placed on President Young's theoretical island. Such is not the case. Here are three resources to keep in mind:
Theatre Manual, published by the Church and available at distribution centers (catalog number PBAC0089). The 140-page manual covers essentials of play selection and interpretation, blocking, rehearsal, direction, scenery, props, costumes, makeup, lighting, sound effects and publicity. It also defines and discusses several types of production and includes a glossary of theatrical terms.
Promised Valley Playhouse, the Church-owned theater in Salt Lake City. Dramatic, musical and readers' theater materials may be obtained by writing to the playhouse, 132 S. State Street, Salt Lake City, Utah 84111. Staff members at the playhouse can give technical help, and, where practical, the theater itself may be booked for performance of productions by stakes.
Talents and expertise of local Church members. A survey of ward or stake members may be necessary to identify such talents. In the Activities Committee Handbook is a "Talent and Interest Survey" form that can be copied and distributed among members. Its checklist includes many skills: arts, hobbies and crafts; drama and speech; music and dance; sports and physical fitness; handyman and home skills. Virtually any of the skills could be useful in some way in putting on a stage production.
Criteria for admissions fees
An amendment this year to the new budget guidelines for wards and stakes gives greater leeway to local units putting on stage productions.
The change allows for modest admission charges to periodic major cultural events to defray the cost of those activities, according to Robert L. Leake, administrative assistant to the Priesthood Department with responsibility over activities.
Three criteria must be applied to justify such an admission charge.
-The program is entirely optional.
-The admission charge is not burdensome to member.
-The event is not being used to raise funds.
The change was made, Brother Leake said, because it was realized that major cultural events are somewhat costly to put on.
"The change has allowed stakes to plan some sort of major event every year or every other year," he explained. "The cultural events may include dramas, musicals, dance festivals or music festivals."
