by Emme Corbett, dramaturg
As a senior student studying history at BYU. One of the first concepts you learn as a history major is that when you study history, it is vital that you do not bring your modern-day biases with you. As strange as some past behaviors or occurrences may be to our modern eyes, understanding the reality of what life was like in historical societies allows for a more authentic and rich study of the past. It also becomes evident fairly quickly that no matter what point in time you’re studying or where you are in the world, there will be commonalities across many cultures. The shared similarity of the human experience allows these connections to occur, so it is no surprise that researching various time periods could be related back to Caesar in Ancient Rome.It was necessary in our dramaturgical research to explore three major time periods that are encompassed within this play in one way or another. These time periods are first, 49 B.C. Rome, when Julius Caesar first became a dictator of Ancient Rome, and the setting for the original script. Second, 1599 England, when William Shakespeare’s Julius Caesar was first performed, most likely at the Globe Theatre. And third, 1919 Italy, when Italy was recovering from participating in the First World War, and the setting for our performance at BYU. This weakened state created a situation where authoritarianism could ensue.It was an interesting experience to be able to connect the culture of Ancient Rome to that of Italy in the early 20th century. The reason for choosing this production of Julius Caesar to take place in 1919 Italy is not random. The significance of that time period is to draw upon the reality that history repeats itself. An aspect of history that is repeatedly detrimental to countless societies is when a group of people finds itself weak and vulnerable--whether that is due to lack of resources, a change in leadership, exiting a war, or simply evolving generations--and a power vacuum is created. This moment in time when desperation allows for someone to assume leadership (based purely on the need to rely on anybody) and provide temporary relief is often too quickly turned into an authoritarian government. The third time period that we also had to account for in this production was the time of Shakespeare in 1599 England. Some of the questions we had to ask ourselves were: Why Julius Caesar? What elements from the story of Caesar’s assassination did Shakespeare feel would resonate with his audience? From these questions and further research on the Elizabethan period, we discovered that, like in 1919 Italy, there was a concern with the succession to the Crown. Queen Elizabeth I was on the throne at the time and created conflict among the people beyond her just being a woman in power. Queen Elizabeth never married and subsequently never bore any children, thus failing to secure a successor who was in her direct line. Another element of the play that related to Shakespeare’s audience was the role of the plebeians. Their behavior in the play could symbolize how the lower class in the Elizabethan Era, while uneducated and changeable, contribute largely to the success of their society.
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.
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.
