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2015-2016 Season

You’ve Got Guts, I Like That…

For me, this show spoke leaps and bounds about our tendency as human beings to romanticize war. The first scene of the play consists of two recruiters who are trying to convince Mother Courage’s eldest boy Eilif to enlist. “Next thing you know you’ll have a new cap and boots how bout it,” and “You’ve got guts, I like that,” stand as only two lines in a series of flatteries paid to Eilif.

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Here at BYU, all students studying dramaturgy are strongly encouraged to create a lobby display for the main stage show they are dramaturging. It is, to an extent, a chance for the dramaturg to show their own comprehension of the show and the director’s concept. For my lobby display, I wanted to focus on this idea of romanticized war. Just as Brecht would point out that even a war as terrible as the 30 Years War can be made to be a “religious war,” or one that is justified, so too can any war today.

In addition to my depiction of the “Recruiter’s Battle Station,” I have also made a video to play at the television beside it.

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The video shows us how Joe Schmo can go from ordinary, to extraordinary by a simple choice to become a soldier.

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However, my compilation serves as a commentary on how this idea that becoming a solider will fix everything in your life and the lives around you is too simple. War is complicated, and sad, and in many cases changes your life and the lives around you for the worse.

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The most commonly quoted line from this play is one that speaks as a reminder of the reality of war. “When war gives you all you earn, one day it make take something in return.” Our goals with this show are not to disrespect or belittle those who have fought for our freedom, or for the freedom of others. It is not some cheap academic opportunity to take snide stabs at the many aspects of war that we do not understand. Just like Brecht, we see this play as an opportunity to ask questions. Is war the only answer? Can we avoid it? And how can we as a nation adopt the answers to these questions.

Come and see the show and my lobby display. It is a wonderful show, full of hard subject matter, and probably different than a lot of theatre you have every seen. What I can promise is an enriching experience, full of new perspectives. See you soon!

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Some Pig: Final Thoughts with Wilbur

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by Jessa Cunningham, dramaturg After the show wrapped up and people went their separate ways, Garret Rushforth, who played Wilbur, and I chatted and I asked him some questions about his experience with the play. What better way to gain insight about the show than from the actor who was in the thick of things from the very beginning? Here is what Garret had to say about this unique opportunity: Me: How was this experience of playing Wilbur? What was your Favorite aspect of it all? Garret: I loved playing Wilbur. My favorite aspect was discovering the character more and more each performance. I never really felt that I had learned all that the character had to offer. Me: What were some challenges that you faced while preparing for the show? Garret: A few of the challenges that I faced had to do primarily with transportation. My car tried to die a couple of times during the run. As far as developing the show goes, I found that the difficulties were mostly in finding the lines. Not simply reciting them, but discovering what was beneath them, motivating them and making them come to life. Me: What lessons have you learned from playing this part, or just from the play in general? Garret: I've learned that there is an amazing opportunity to find out about yourself from the character discovery process. I also learned how much a family the cast can become if given the opportunity. Me: What is your favorite part of this story? Garret: I love when Wilbur and Charlotte talk about Charlotte's death and Wilbur is so devastated. It showed how deep Wilbur's reliance on Charlotte was as well as his desire to help her too. Me: As you leave this production, what will stay with you? Garret: The friendships I've made and the things that I've learned about myself because of the show. Me: What aspects of your character did you love/latch onto from the beginning? Garret: I latched onto the loneliness aspect of Wilbur's life. For all his life, he'd not been given much of a chance, Fern and Charlotte being the exceptions. He was written off by nearly everyone until Charlotte pointed out how special he is. Me: Any final thoughts you would like to share with those who came to the show? Garret: Charlotte's a web was a show that offered a unique view of friendship and family. It doesn't matter what someone looks like or where they're from, friendship and family can transcend all differences.
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From Page to Stage - Working with the English Dept.

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This coming week we have an exciting opportunity to hear from members of the BYU English Department. During the summer, as we geared up for rehearsals and the production in the fall, Shelley Graham and I talked about how we could get more departments here on BYU campus involved with the productions. It occurred to me that we had a special opportunity here, since this play was an adaptation from the Victorian novel George Eliot wrote. Through some help, I was able to get in touch with Professor
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An Actor's Perspective, Part 2

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By Abram Yarbro and Holly Mancuso Microburst Theatre Festival opened last week, and it has been great to have an audience. As Lee Hall explained in an interview, "Whether you are a writer, or an actor, or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else."
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