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2021-2022 Season

Opera Etiquette

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Follow these steps and you’ll be in-step with the operagoers.

  • Timing – Arrive early to observe other operagoers and to comply with any and all COVID policies. Look for BYU students on assignment, friends and family of performers, season ticket holders, and those that arrive in high style.
  • Audio – The Franklin and Florence Jepperson Madsen Recital Hall is acoustically enhanced for sound distribution – so please silence your phone, watches, and any other electronic devices as these distract the performers and from the performance.
  • Know Before You Go – Study the plot(s) of the opera before you go. If you need to brush up on the specific scenes, check out this link:
  • Supertitles* – These are the electronically-projected translated words above the stage during the opera. Contrary to popular belief, translating an opera from the language of the librettist (who wrote the words to the opera) into the language of the audience has been a common practice and desirable way for the composer (who wrote the music) and the entire opera company to increase profits. While some patrons prefer to purchase a printed libretto (the translation of the script), supertitles on a reader board imply that the audience is all on the same page. According to the NYTimes, electronic supertitles first appeared on the New York City Opera stage in 1983 to make opera more accessible to the audience. Here are four ways to watch this relatively new phenomenon:
    • Operagoer Level – If you’ve learned the libretto translation of the song by heart, you needn’t watch the scrolling screen.
    • Semi-Operagoer Level – If you want to reaffirm the meaning of a phrase, a quick glance at the screen offers a refresher geared to each patron’s needs.
    • Semi-Greenhorn Level – Look at the supertitles until you get the gist of the story, then allow the emphasized notes and the performers’ nuanced expressions to wash over you with the confidence of an operagoer (my personal favorite fallback if I haven’t brushed up on my libretto).
    • Greenhorn Level – Keep an eye on the supertitles, but allow your view to take in all the action occurring on-stage. Like learning to ride a bicycle, you’ll eventually feel safe in taking off the training wheels and freeing yourself to enjoy the show!

* If the supertitles are blank, it usually implies that the vocalists are repeating recent phrases, a good time to take in the whole stage!

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Carpe Diem With the Bright Young Things

July 26, 2022 12:00 AM
By Amelia Johnson, assistant dramaturg World War I had drastic consequences. Many had lost family members and friends in battle. Those who fought in the battle and survived were affected emotionally if not physically. As a result of of fighting in the war 250,000 soldiers suffered a full or partial amputation. The generation who had just missed the age of being drafted felt extremely lucky. Seeing so many die from the war and Spanish influenza in such a small time period made everyone very aware that life is short. This impacted the younger generation. They felt the need to live life to the fullest for themselves and for those who no longer had the chance to. [caption id="attachment_5293" align="alignnone" width="300"] An extravagant party thrown with the spirit of the Bright Young Things.[/caption] With this sentiment, the Bright Young Things or the Bright Young People became an active group in society. Wealthy young aristocrats and socialites, the Bright Young Things rebelled against the values that they and their parents had been brought up with so that they could enjoy living. Their parent’s values had done nothing to protect them from the terror that the war had brought, so what was the purpose in playing by the rules? Life was mean to be enjoyed. [caption id="attachment_5291" align="alignnone" width="243"] A waiter experiences shock as a young woman publicly smokes a cigarette.[/caption] The Bright Young Things threw elaborate parties and participated in car races and treasure hunts. They also drank, smoke, and used drugs. Concerned only with what was fun, they gave no thought to what was proper. Their behavior caught the attention of journalists who were very interested in reporting their wild antics to the public. It is with the Bright Young Things that paparazzi originated, as reporters would follow individuals from this group of young people to get a good stories. Because of how much these individuals appeared in the press, many of the names of the Bright Young Things are still known to this day. [caption id="attachment_5289" align="alignnone" width="217"] Nancy Mitford. One of the known Bright Young Things who later became a novelist.[/caption] As you watch Chariots of Fire, pay attention to behaviors that may be associated with the Bright Young Things. In comparison, Harold and Eric were a little different then the young people at this time. Both found their fun in running and focused their efforts on this. Eric also found joy through the religious work he did. These men seized the day in their own way.
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Microburst: Bringing to Life New Plays

July 26, 2022 12:00 AM
The upcoming Microburst Theatre Festival features six plays written by BYU students and directed by George Nelson. To bring new plays to the stage takes a lot of editing, revision, and workshopping over months to maybe years. For Microburst, these playwrights get to have life breathed into their plays thanks to the four actors of Microburst; Clara Richardson, Jacob Khalil, Mikah Hansen, and Ren Cottam.
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Some Pig: Final Thoughts with Wilbur

July 26, 2022 12:00 AM
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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