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2015-2016 Season

The Web: Charlotte’s World Part 1

When you come to see our production, you will see that Charlotte’s famous web is not what you expect. Directors Shawnda and Bradley Moss wanted to give the spider’s home a unique twist, so whenever Charlotte is in her web, she will be on aerial silks.

Here’s some information on aerial silks so you’ll know what to expect when you come to see the show!

Aerial and acrobatic arts have existed for centuries, dating back to 2000 BC. The modern form of aerial arts, known as Nouveau Cirque, was created only several decades ago in the 1970s. From this sprang the world-renowned Cirque du Soleil, which used dazzling acrobatic acts and spectacle to draw in audiences from all over. André Simard, a member of Cirque’s creation team, created this new art form in the early 1990s. The aerial silks allows the performer to have a secure safety line so that they can artfully and carefully execute difficult stunts in mid-air.

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The aerialist uses the silks to climb up high in the air–sometimes 20ft and higher– and then uses it to wrap it around their body and do tricks such as swing, fall, spiral etc. Due to the nature of the art form, safety harnesses and lines cannot be used, as they could get tangled up in the fabric and risk injury for the performer.

Aerial silks create a beautiful and awe-inspiring phenomenon for the audience, but it is extremely trying on those who do it. Extensive training is required in order to pull off this difficult technique, and here at the 4th Wall we get a closer look at what that training entails! Stay tuned for the next post when the secrets of Charlotte’s Web are revealed by none other than our resident Charlotte herself!

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Games and Activities Inspired by this Fishy, Wishful Tale (Part 2)

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The cast has been participating in workshops with Teresa Love, an adjunct professor at BYU who teaches theatre for the elementary classroom, storytelling, and adapts many of the TYA plays performed on the BYU stage. (Fun fact: She wrote the script to BYU's most recent mainstage play, The Selfish Giant.) She is currently helping the cast of The Fisherman and His Wife construct a post-show interactive workshop for 3rd graders. These workshops will take place after the students have seen the show performed at their elementary school. In the images below, the cast and stage manager collaborate to first establish, then create frozen images of the play's themes: CONTENTMENT, POSSIBILITIES, DESIRE, UNSATISFIED, REVERSED, HAPPY. Overall Message: BE CAREFUL WHAT YOU FISH FOR! Can you see any of these themes or messages represented in the poses below? MORE WORKSHOP PICTURES TO COME!
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Design Inspiration

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by Amelia Johnson, Dramaturg Creating a show is a process. Though the run of the show is over, there was a lot more that went into the show than what was seen in those few weeks. Months before the run, the production team began meetings. They discussed the director’s vision for the show and began planning designs. Everything was approved of and discussed before lights were set, sets, were built, and the costume and makeup designs were implemented. This year, the costume and makeup designers drew inspiration from the local artist, James Christensen. Having passed away earlier this year, director Dallyn Bayles thought it would be nice to pay tribute to him in this way. Costume designer Dennis Wright was thrilled to base his designs of Christensen's style. He said, “What I really love about Christensen’s work is the whimsy that he incorporates into his characters. His distinctive use of patterns, layers and silhouette is really fun and distinctive. I wanted to be sure to capture that in the costume designs for this production. “I love this show, and the concept and design choices our team has made. I am excited to share it with our audience. As a big James Christensen fan, my one regret is that I didn’t actually get to meet the artist in person. I just returned to Utah last year and sadly, missed my chance. I am very grateful to be able to pay tribute to him in this small way”. Makeup and hair designer Sarah Bult also shared some of her thoughts. “After reading the script I looked through as many James Christensen paintings as I could find. I picked out textures, colors, broke it all down and paired certain characters with those elements. His artwork influenced everything from the shape and colors of hair down to the detail on the bead work of the hairpins. I loved that I could draw my inspiration from his work and create something that really embodied his artwork." Bult continued, “One thing I didn’t expect to be a challenge was that not many Christensen pieces have hair showing. This created a very unique and fun challenge for me. I had to look many different paintings, combine textures and colors, and use my own design style to come up with fun fairy tale hair and makeup styles that were reminiscent of Christensen’s artwork. I am very excited to see how all of the elements come together”. Join us on the 4th Wall next time to learn more about what goes on behind the scenes!
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Until Next Time, Microburst

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by Holly Mancuso, dramaturg After a successful run, Microburst Theatre Festival has wrapped up for this year. If you missed it, make sure you join us next year for a fresh round of new plays written by students. As part of the show we created boards for the lobby highlighting each of the shows. Different drafts showed how much these plays have changed since the first drafts, which was fun for audiences to see. [caption id="attachment_3667" align="aligncenter" width="3264"] The Microburst lobby display[/caption] As part of this process, the production team has grappled with the question: "Why new plays?" This is a fair concern, since many people don't feel comfortable seeing something with which they aren't familiar. It's also easier to be drawn in by a known name
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