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"Taste of Sunrise" Take-Aways from Cast Members (Part 2)

by Haley Flanders [caption id="attachment_4665" align="aligncenter" width="349"]

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The cast and Julia Ashworth (director) and Heather Richardson (stage manager) embrace the playwright Suzan Zeder (center) at the final performance of the show, this past Saturday, March 26. She attended the show since it was part of the "Theatre in Our Schools" Conference, and she was the keynote speaker. All three of the plays in the trilogy were performed or featured as a staged reading at the conference held at BYU March 25-26.[/caption] As promised, here is the second and final installment of the take-aways from the cast. The previous blog post featured six of the cast members, and this post will feature another six! During the final post-show discussion, an audience member asked the cast to share the things they have learned and felt by creating and performing this piece of theatre together. Since only a few could share, luckily we have this blog to give you more insight int the individual experiences of various cast members. Enjoy!

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Katie Hyatt plays the role of Emma Flynn. "I would like to be a drama therapist using plays, such as The Taste of Sunrise, to empower communities and schools to be inclusive and overcome the common struggles that hard situations create. I believe I will be able to help communities become inclusive and accepting through these experiences."  

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Jason Keeler plays the role of Roscoe and the signer for Jonas Tucker. "I hope to be accepted into the supply chain program or either Recreational management. Nevertheless I hope my life will still greatly involve opportunities in the Deaf world."  
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Brooklyn Downs plays the role of Maizie's voice and signer. 
"I am currently working on my missionary application and will be expecting my call in a few weeks. I hope to be able to have more opportunities to do shows at BYU as well as be more involved in the Deaf community."

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  Lizzie Mickelsen plays the role of Izzy Sue Ricks, along with various workers at the Central Institute for the Deaf. "I want to keep being involved in theatre.  I'm still finding where I fit in this wacky world, but I love costume and makeup design.  The more opportunities I have to design the more I fall in love with the craft.  Being able to help bring stories like this to life would be a dream."

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Christina Hernandez plays the roles of the signer for Dr. Alexis Graham and a student at the Central Institute for the Deaf. "I have often imagined myself being a theatre teacher, and last semester I even thought about being a theatre teacher within a Deaf school/community. I am currently a theatre arts studies major, thinking minoring in both TESOL (teaching English to speakers of other language) and communications. I want to always have theatre in my life. Auditioning for plays as often as I can and trying to be in a production each year, at least. I want to go to another country and teach English, and use my background in theatre as often as possible. Theatre really is a part of me, and ASL is starting to be the same."
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Elyse Allen plays the role of the signer for Izzy Sue Ricks and a student at the Central Institute for the Deaf.
My future aspirations include gaining my BFA in acting, becoming fluent in ASL and doing my best to be happy and follow the Lord's plan for me. (She just received her mission call and will serve in ASL).

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Jake Earnest plays the role of Jonas Tucker.  "My experience working on this show has been incredible. I learned the beauty of sign language, and it instilled a desire in me to learn it fluently. What makes a show really great is the relationships you gain throughout the process. I will cherish those most of all. The message of the show became deep and important to me, and as time progressed I realize that I did not have to act like Jonas much, for his life had become part of me. I really felt a fatherly care for Tuc, and it became harder to leave him at school every night. But this made the show a stronger and grander experience for me and hopefully others." 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?

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Katie H: I have always felt that the world focus to much on what we can't do. I hate the word disability as I often look at people who have that label and admire what they are able to do that I am not. This play has helped me to understand what that can mean in the deaf community and to really understand a perspective that see's there disadvantage as something to be accepted and embraced, because "some things are so beautiful they don't need sound." Jason K: I learned a great deal of improvising in situations and not coming out of characters. You learn to never leave your character. Thats what I feel like I understood more of myself. Have i done things out of character and what were those moments? I learned we need to spend a great deal of time learning about ourselves to understand who we are. Brooklyn D: I have learned a lot about communication -- in English, ASL, and not even in official languages. You can communicate with your eyes or body. I also have learned a lot about collaboration and working together with others to make a beautiful product. Lizzie M: One of the many lessons I am taking away from this show is that theatre is capable of healing people.  One of the rehearsals where this show really clicked for me was when Julia described this as a "healing show". Theatre allows us as audience members to create emotional connections to what we are viewing on stage.  We see ourselves in the characters and relate experiences we have had to the events being performed.  Sometimes these connects are so strong, that we can resolve inner conflicts and let go of things that have been troubling our minds.  We can find resolutions to real life problems through theatre and most importantly, it can heal our hearts.  I think very few things have that ability to do that. Christina H: To be honest, I've learned just how much Heavenly Father truly cares about each of his children. Being a part of this production was definitely an answer to prayer for me. I know that I've been blessed to acquire a cast family as amazing as The Taste of Sunrise cast. I constantly learn and see the immense kindness that people have. This has been the most loving cast I've ever been a part of. I've definitely re-learned that love truly is the most powerful force on Earth. Additionally, I've been able to see just how healing this show has been. Our rehearsals became a place where we could come and heal. It was an open space that we could all be honest and let go of our troubles and worries. This play has become a part of me. Elyse A: I've learned how important it is to make connections between people off stage as well as on. I've also learned that sometimes you get very unexpected blessings from being in this show - namely a mission call in which I'll be using ASL. 2) What do you hope the audience takes away from witnessing this show?

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Katie H: A better understanding of those who are seen to have a disadvantage mostly because they do not have a voice, due to their race, disabilities, situation, or age. I want create a better understanding of both sides of the minorities vs majorities discussion. I hope that that message is taken in by both the hearing AND deaf communities. I believe both need to work on listening to each other. Most of all I want the audience to walk away feeling the connection that listening can provide. Jason K: I hope the audience comes to understand more about the importance of communication. I hope they also develop an awareness of the deaf community and its a wonderful culture. Brooklyn D: I hope that hearing audiences members will be able to get a little taste and a little more information about Deaf culture and the Deaf community. I hope that deaf audience members will enjoy that they will be able to understand everything without needing an "interpreter" or reading the script as the show is happening. Lizzie M: I hope the audience is touched by this story and finds a way to incorporate the lessons it teaches into their own lives.  I hope that they will give people who seem to be different a chance to be heard and welcomed.  I hope they can find the inner strength to forgive those who have hurt them the most.  I hope that they will look for the positive in the world around them.  I hope they will taste the sunrise. Christina H: I hope the audience leaves feeling enlightened. I want them to all experience a new culture. I want them to feel what it's like to be Tuc--to witness the struggle to communicate and carry that with them. This show is all about light. We can each be a light to other, and we can always seek out that light. This play is about a journey and finding oneself. It is about how it takes great effort to communicate and connect with others. I hope the audience leaves and wants to try to reach out more to those people who may be different than they are--or who may communicate in a different way. To be honest, I hope a few amazing souls leave this show and want to learn sign language. I just want them to leave thinking in some sort of way different than when they first sat down in the theatre. Elyse A: I hope the audience takes a love of the characters and an openness to those around them. I hope they take an awareness of others from it and how to help them and how to love them. I also hope they take a love for ASL with them! 3) What were some of your favorite and/or most challenging parts about being in this show?

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Katie H: My favorite is the connection we've made as a cast. We are a family, created by an environment of inclusion regardless of ASL skill, acting experience, or any other limitations. I would also say that it was that inclusion that allowed us all to overcome our challenges. I observed growth in all of the cast. Jason K: Personally my favorite parts is where we spend so much time understanding the character. What he do? what would he think? I love discovering the character. Brooklyn D: Some of my favorite parts included the shadowing and interacting of counterparts. That also was one of the hardest parts: having the shadowing work well enough that it makes sense that 2 people represent one character, as well as all the signing is visible from every angle. And I truly enjoyed being able to both voice and sign. Lizzie M: This show is unlike anything I have ever done and was an incredible challenge.  The logistics of this show are insane.  We took the approach of creating two show: one with the signers and one without.  Once the show with the signers was complete we added in the signers and started to work with meshing the two worlds.  It was difficult and frustrating and at times we had no idea where to go next.  But I think in the end we are able to create something together that is beautiful in a very unique way. My favorite thing about this show without a doubt is the incredible people I have had the opportunity of working with.  The entire cast is a huge family and I think that helps us with our onstage chemistry.  The interpreters and teachers from the ASL community have been so patient and loving.  Our director, Julia, has put her whole heart and soul into this show.  This allowed us as actors to do the same, and it shows. Christina H: So, currently, I am only in ASL 102--the second class of ASL I've ever been in. My knowledge of sign language going in was quite limited. It scared me so much that I'd have to sign all these crazy long lines, and medical terms. I felt like a dear in headlights at first. I also struggled with finding just exactly how I fit into the play....if I was an interpreter or what? I absolutely loved it when we became "signers" and not interpreters. We had a few rehearsals where just the signers did the scenes and the voicers watched. That was the coolest experience ever. I will always treasure that because it helped me to truly become Dr. Graham. Elyse A: My favorite part was making connections with all of the wonderful people. The most challenging part is being confident with signing on stage.

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Thank you for visiting the dramaturgy blog for The Taste of Sunrise. We hope you had a chance to witness this production. Playwright Suzan L. Zeder said it was truly the finest and most powerful production of her play she has ever seen, and that Ben Featherstone is her favorite Tuc! It's safe to say she loved it, that the audiences are moved by the story, and that the cast has truly become a close family through the creation and performance of this beautiful story. Until we meet again, fellow theatre-goers!

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Post Mortem Photography

April 20, 2021 12:49 PM
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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Interviews with the Student Devising Team

April 19, 2021 07:44 AM
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. Initially, David gave us some conceptual ideas he had for the show (like using movable screens that could utilize shadow work). Then we all read the original story. At each meeting, we would assign a chunk of the original story as our writing assignment. Using that chunk of the story as inspiration, the four students would go home and write a scene that translated that section of the original story into a play scene. Through that process, we collaboratively came to an understanding of the themes that we wanted the play to explore as well as theatrical devices and ideas that we thought would work well in putting the play on its feet. Simultaneously to writing these scenes, we were also using our class time to experiment with staging and blocking using the earlier scenes that we had written. So for instance, when we were about halfway through writing the script, we were also staging what the early scenes would look like to help test if the script we were writing worked in practice as well as on paper. Dylan Wright We chose this project because we obviously needed something in the public domain that we wouldn't need to pay royalties for, but aside from that this story really highlights the mental turmoil of a young governess as she grapples with her duties as a woman and her place in the world religiously as well. We took this story to an extremely dark place-- it has since been edited for this particular production-- that orbited around this idea of religious toxicity, something all too familiar in Utah. We felt that it was important to excavate and expose the uncomfortable and truly ugly parts of religion and the toll it can take on us. I wanted to work on this project because Mikah, Sten, Clara, and Dave are some of my favorite people and artists. 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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