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2015-2016 Season

"Taste of Sunrise" Take-aways from Cast Members (Part 1)

by Haley Flanders, dramaturg

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Welcome! The performance and attendance for The Taste of Sunrise has been wonderful! I hope you have had a chance to see it! If not, there are still a few more shows left. The last performance is this Saturday, March 26. As we wrap up this unique and inspiring play, I invite you now to read what some of the cast members have to say regarding their experience being in the production. This is the first of two blogs containing these interviews. The next blog will have other members of the cast answering the same questions, so stay tuned!

First, let me introduce you to the remarkable cast members who volunteered to answer my questions. As a way for you to get to know them better, I asked them to describe some of their aspirations, both in and outside of theatre.

1602-28 501 Play the Taste of Sunrise publicity February 16, 2016 Photography by: Mark A. Philbrick/BYU Photo Copyright BYU Photo 2016 All Rights Reserved photo@byu.edu (801)422-7322 4580

Ben Featherstone plays the lead role of Tuc.

My biggest goal is to get in Star Wars 9 as a Stormtrooper or a Deaf alien. That’s my biggest goal. Other than that, I hope that there will be opportunities for me to continue acting in front of camera and theatre as well. But I also plan to become a motivational speaker and writer.”

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Shawn Kebker plays the role of student in the Central Institute for the Deaf, and the signer for Dr. Grindly Mann.

“I want to get my master’s degree in Social Work. I also want to continue to learn ASL.”

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Sean Worsley plays the role of Tuc’s voice.

My aspirations with regard to acting in general is to continue doing it my entire life. My first love is film acting, with improv and theatre coming in close behind. I’m excited to continue learning at BYU with all of the incredible resources that are here!”

1602-28 508 Play the Taste of Sunrise publicity February 16, 2016 Photography by: Mark A. Philbrick/BYU Photo Copyright BYU Photo 2016 All Rights Reserved photo@byu.edu (801)422-7322 4588

Brittni Henretty plays the role of Dr. Alexis Graham.

This show is unlike any other I’ve been a part of. I’ve never had to collaborate with another actor to create one character. I learned so much from working with my signer and now dear friend, Christina, to construct Dr. Graham. We would go through our scenes line by line and discuss how and why Graham would react to what was happening to her. I loved what I learned from that experience about being selfless and giving to my fellow actors in the creative process. I want to take this lesson I’ve learned and apply it to my future performances, as well as my life in general.”

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 David Hampton plays the roles of  Dr. Grindly Mann, a hunter, and the signer for Nell Hicks.

“If I see any chance for another role in an ASL play, I will try out. For now, I plan to film myself signing stories from my life.”  

1602-28 340 Play the Taste of Sunrise publicity February 16, 2016 Photography by: Mark A. Philbrick/BYU Photo Copyright BYU Photo 2016 All Rights Reserved photo@byu.edu (801)422-7322 4388

Abbie Craig plays the role of Maizie.

“I’m a pre-Theatre Arts Education major. That’s been the plan since I came to school (so, all of my two semesters, I’m still a freshman). But since doing this play, and since working with some of these amazing people and loving everything about it, I actually want to go on to teach theatre in a Deaf school. So—yeah, this play has been a pretty huge impact on me.”

Now enjoy the rest of the interview with these cast members!

1) What life lessons or theatre tips have you learned from being a part of this show?

1602-28 477 Play the Taste of Sunrise publicity February 16, 2016 Photography by: Mark A. Philbrick/BYU Photo Copyright BYU Photo 2016 All Rights Reserved photo@byu.edu (801)422-7322 4551

Ben F: “Everything’s awesome, everything’s cool when you’re a part of the team. Everything’s awesome! Everything’s cool when you’re living a dream!” -Lego Movie. I learned how to be a team player, how to stay happy, and how to empathize with other people better than ever before.

Shawn K: I gained a better understanding of Deaf culture. I have also gained a great deal of respect for theater.

Sean W: Regardless of the language, while communication can be difficult at times it is worth working at for all of the beautiful moments people ultimately get to share.

Brittni H: I think one of the themes of The Taste of Sunrise is learning to understand someone else’s point of view despite our differences. Our cast is comprised of such a brilliant variety of people: We come from diverse backgrounds, we are studying very different majors. We each see, hear and understand the world in our own unique way. Yet all of us have become such good friends as we’ve worked together to bring this story to life. I have learned so much from them and this show about the importance and beauty in taking the time to really get to know a person.

David H: I learn that being in theater is hard work. There are a lot happening behind the scene to bring a play to life.

2) What do you hope the audience takes away from witnessing this show?

1602-28 375 Play the Taste of Sunrise publicity February 16, 2016 Photography by: Mark A. Philbrick/BYU Photo Copyright BYU Photo 2016 All Rights Reserved photo@byu.edu (801)422-7322 4433

Ben F: I hope they take something that will change their lives, it doesn’t matter what they take away. But I want them specifically to remember how awesome the Deaf community is. But on a serious, more spiritual note: I pray that everyone who comes to the show can learn to always have hope in midst of trials and hardship.

Shawn K: I hope that they will want to develop better communication with their loved ones.

Sean W: It doesn’t matter what backgrounds people come from, friendship and connection are the most important things we can cultivate in this life.

Brittni H: I hope our audiences walk away feeling motivated and empowered to be a force for good in the world; I want them to feel like they can be as loving as Nell, as forgiving as Jonas and as brave as Tuc.

David H: I hope the audience will gain a better understanding of the Deaf community. I hope they understand the importance of American Sign Language with deaf children and education.

Abbie C: This play is so much about finding where you belong and recognizing and understanding that you do belong. That, to me, was expressed through this beautiful story and brought to life through Julia’s directing and the rehearsal process. We became a family, we had a place of healing where we belonged. This play is also about light, and clinging to that light and that hope. I hope and pray that the audience comes away feeling those things. Feeling like you can and need to find belonging, light, and hope, and hold onto those things. Once you “belong to yourself,” and have those things, you can share those with others. You can help them belong. You can bring light to others. One of the most touching things that I’ve experienced though this play was after we performed for children from a school for the Deaf. They filmed video responses for us, telling us what parts they loved and how the story touched them. Then we also got responses from parents who came that day. Those are what got me. Parents thanked us for helping them understand their children better. They said that after seeing this play, they want to learn sign to communicate with their children. I couldn’t believe that there were actually parents who couldn’t communicate with their children. To be able to share that perspective and that beautiful story with them was such a moving experience.

3) What were some of your favorite and/or most challenging parts about being in this show?

1602-28 508 Play the Taste of Sunrise publicity February 16, 2016 Photography by: Mark A. Philbrick/BYU Photo Copyright BYU Photo 2016 All Rights Reserved photo@byu.edu (801)422-7322 4588

Ben F: Some of my most favorite and the most challenging part of the show was becoming Tuc. Everyone in the play, especially Julia Ashworth and Sarah Leathers, had to take a lot of time teaching me how to allow Tuc to bloom inside of Ben Featherstone, and let him out. It was amazing experience.

Shawn K: I really enjoy interpreting for Dr.Mann when he is angry. 

Sean W: The responsibility of sitting and watching Tuc, trying to mimic his emotions, body language, and acting choices with MY voice is a difficult task. Not just because of the distance with him being ons take and me sitting in the aisles, but because normally actors think things like, “What am I going to do to help portray that?” and instead I need to think “How is Ben interpreting this scene, and what is he going to to share it with the audience?” and then I get to try and mimic that. It really is becoming his voice, and checking my own personality at the door.

Brittni H: For me, one of the most challenging parts of this show was developing the character of Dr. Graham. This woman has such a different demeanor than my own. At first it felt so unnatural (and a little uncomfortable) to say her lines and do the things she does on stage. I didn’t want to be such a mean person! I came to realize, however, that Graham’s unsavory sternness plays an important role in telling Tuc’s story. Without an accurate portrayal of her as an opposing force in his life, the audience could not fully understand the true ugliness of Tuc’s struggles, and thereby could not fully understand the true beauty in Tuc’s triumphs. Once I understood that, I came to love Dr. Graham as well as being her on stage.

David H: I enjoy being an actor. One challenge was being three different characters with various personality for each one. Another challenge was to match my voice’s facials and emotions when I was signing for her.

Abbie C: I loved this whole process. It was incredibly life-changing and such a beautiful experience. I can’t imagine my life without it. Honestly. The biggest challenge, for me, was how much time I put into this show. I’m currently in ASL 102— a beginning level sign language class. My character has been signing fluently her entire life. So, I spent hours and hours outside of rehearsals learning my signs for my lines. I loved it! And it was a LOT of work.

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There you have it! Visit the NEXT (and final) blog post for answers to these same questions, yet featuring other cast members. Thanks for stopping by!

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by Makenna Johnston, dramaturg As you can see in The Turn of the Screw, the Victorian era was shrouded in death. Complications from industrialization, as well as high disease and infection rates, caused high mortality rates, especially in younger demographics. Because of this, the living found comfort in one of the most fascinating mourning practices of the Victorian era: post-mortem photography. Due to the high cost of photography during the Victorian era, post-mortem photographs were often the first, and only, photographs families had taken of their loved ones. The mourning would commission a daguerreotype or a photograph taken by a long-exposure camera. Long exposures when taking photographs meant that the dead were often seen more sharply than the slightly-blurred living, because of their lack of movement. The dead were carefully posed to appear as if they were still alive. Some deceased were propped against stands or furniture while others were surrounded by their family members or favorite toys. Once the daguerreotype photographs finished developing, some photographers would paint eyes or add blush to the finished photograph to make the deceased appear more lifelike. Below are more examples of post-mortem photography. How do you choose to remember those who have passed on? Sources: Bell, Bethan. “Taken from Life: The Unsettling Art of Death Photography.” BBC News, BBC, 4 June 2016, www.bbc.com/news/uk-england-36389581. Diaries, Ghost, et al. “Memento Mori: The Macabre Victorian Art of Death Photography.” The Occult Museum, 16 May 2017, www.theoccultmuseum.com/memento-mori-macabre-victorian-art-death-photography/. Leahabaza. “Picturing the Dead: Victorian-Era Mourning and Post-Mortem Photography.” Woodland Cemetery History, 20 Aug. 2018, woodlandcemeteryhistory.wordpress.com/2018/08/20/picturing-the-dead-victorian-era-mourning-and-post-mortem-photography/.
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by Makenna Johnston, dramaturg In a ‘special projects’ theatre class held between January and March of 2020, four students and their professor began devising a show. Their devising team? David Morgan (professor), Clara Wright, Mikah Vaclaw, Sten Shearer, and Dylan Wright. Their source text? The Turn of the Screw, a novel by Henry James. Though the team’s original devising process was cut short due to the Covid-19 pandemic, aspects of their invaluable contributions to the production live on. Each student deviser's unique perspective about the story and devising process are explored below. Clara Wright Our professor David Morgan had the idea to create a devised piece of theatre to take to the Edinburgh fringe festival with a group of students. He was drawn to the script of the Turn of the Screw, but wanted to do his own take on it, so he decided to create a new adaptation of the original book with a group of students. He was drawn to the eerie nature of the piece, the elements of horror, and the slow descent into madness of the governess. I joined Dave's class to write and devise this script because, first of all, working with Dave has always been a pleasure, but the story was intriguing to me as well. I loved the idea of studying and understanding a layered female character. I don't think there are enough interesting female characters out there at the moment. The governess was affected greatly by societal pressures and a deep, depressing history that drove her to madness when she arrived at Bly. The story was mesmerizing. I was also excited to work the muscle of creating a new piece of theatre. I am not confident in my writing abilities, but it was exciting to take a piece of literature that already existed and make something new and interesting out of it, using visual elements that you can't get from reading a book. We not only wrote dialogue, but we also wrote out ways we could use movement, sound, lighting, puppetry, and more to tell the story in the most effective way possible. The devising process was a blast! Dave would tell us what scene he wanted us to write and we would each go home and write out our own interpretation of the story. The next class, we would get together and go over which elements of people's scenes we liked best, which moments were the most clear, and which lines we for sure wanted to keep in the final script. Sometimes our interpretations were so different and unique that it was difficult to choose which direction the piece needed to go. Ultimately, Dave would piece together each of our scenes into a cohesive script. Other moments I enjoyed were when we would put scenes on their feet and act them out to see how they translated to the stage. The introduction especially benefited from this exercise. The last exciting part of the devising process that I'll talk about is writing the music. I hadn't written original music like this before so it was such a cool experience creating sound like this for the first time. I didn't ever think about what scene I was writing for, but Dave told me what tone he was looking for in a piece of music and then I experimented until I found something I liked by layering on different sounds I could make on my violin. It was an overall thrilling experience! Turn of the Screw example music Turn of the Screw example music 2 Mikah Vaclaw Because of COVID, we didn’t get to fully get the script up on its feet, so we focused a lot on writing. First, we all read the book over Christmas break, and when we had our first meetings as a group, we talked about what stood out to us in the story and what we wanted our retelling of the story to be. Something we really wanted to explore was the idea that the ghosts were actually things born out of trauma the governess had experienced in her youth, and how she was the only one that could see them/was affected by them. We also wanted to explore jealousy between Mrs. Grose and the Governess. Once we had fleshed out what was important to us, we started writing. Dave would tell us what scene he wanted us to write for homework, and we’d all come back with our different written versions of that scene. Then, in class, we would read them aloud together and talk about what we thought worked, and what didn’t. Dave would then take all of our scripts and compile them together into one cohesive scene. We were able to start toying with the introduction to the play, and Clara wrote some really cool violin music for it. Sten Shearer The process of devising the script was the five of us (David Morgan, Clara and Dylan Wright, Mikah Vaclaw, and myself) would get together a couple times a week. 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The driving force really, as mentioned earlier, is that we wanted to create. We were all itching to create something. None of us needed this class credits-wise so the idea of coming together to tell a ghost story that echoes modern themes in a bare-bones, devised manner was extremely appealing. Unfortunately we were never able to perform this production because of COVID. But the devising process was an invaluable gem. We would each read the same chapter of The Turn of the Screw and then come to class with our own interpretation of this chapter in scene-form, creating dialogue and stage directions. Dave would then pull the pieces from each that rendered a clearer, more specific story and then we would go from there. When we would arrive in class we would also read each other's scenes out loud to get a feel for them. It was a marvelous process.
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Turn of the Screw Study Guide

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2020-2021 SEASON, ILLUSIONARY TALES TURN OF THE SCREW by Makenna Johnston, dramaturg
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