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by Jessa Cunningham, dramaturg In the last post, I outlined some of the important rules that Upper Class Victorians followed closely. At rehearsal this past week, I asked the wonderful actors in our show to demonstrate some of the rules (and what it looked like when your broke them). Take a look at the pictures below, get a glimpse into Victorian etiquette, and see the silliness of the amazing cast! First, I had the cast display bad posture that couldn't be found at someone's house while visiting. Posture was always meant to be upright, with no slouching, leaning, or relaxing in any inappropriate manner. [caption id="attachment_4888" align="aligncenter" width="584"] From left: Meg Flinders, Emma Widtfeldt, Stephen Moore, and Sean Worsley[/caption] Next, I had them demonstrate proper escorting etiquette. While men were allowed to escort two women if necessary on the street, women were never allowed to have two men on their arms. [caption id="attachment_4890" align="alignright" width="225"] From left: Sean Worsley, Emma Widtfeldt, and Spencer Hunsicker[/caption] [caption id="attachment_4889" align="alignnone" width="225"] From left: Meg Flinders, Sean Worsley, and Emma Widtfeldt[/caption] This next picture is a hodge-podge of no-no's for Victorian's. The actors got creative and put on a display of deplorable crimes to commit while visiting someone's home. One pose was actually a rule, though: no picking at your teeth while calling. [caption id="attachment_4891" align="aligncenter" width="584"] From left: Meg Flinders, Emma Widtfeldt, Spencer Hunsicker (blissfully unaware), and Sean Worsley[/caption] Finally, I had Sean portray another rule that would have been embarrassing if one was caught committing it: looking at the handkerchief after one blows their nose into it. That was considered disgusting, and no one could do that if they were in polite company; it wouldn't seem proper. [caption id="attachment_4892" align="alignleft" width="225"] Sean Worsley[/caption] [caption id="attachment_4893" align="alignright" width="225"] Sean Worsley[/caption] This was a fun exercise to understand some of the intricate rules that Victorian's had to abide by. Hopefully you found this a funny and informative way to learn about the era!

by Jessa Cunningham, dramaturg Now that you know what the Victorian Era was, it is appropriate that you knew what it was like, particularly for the wealthy. Propriety was of the utmost importance for upper class Victorians, and there were many rules to follow. Every aspect of life had strict rules that must be followed, as they were concerned with how they were perceived. You will get a peak at those in this post, and in the next post you will see how members of the cast handle themselves when I have them follow some of the (sometimes outrageous) rules. General Rules: Learn to deny yourself and prefer others Never speak or act in anger At a Dinner Party: The room may be lighted with either white or colored candles or lamps. Many prefer to have a portion of the light fall from side brackets or from the wall. No more than two vegetables should be served with each entree and potatoes should not be offered with fish. On the Street: A gentleman may take two ladies upon his arms, but under no circumstances should the lady take the arms of two gentlemen. No gentleman will smoke when walking with or standing in the presence of a lady standing in the street. At the Theatre: A gentleman desiring a lady to accompany him to the opera, theatre, or other place of amusement, must send her a written invitation not later than the day previous to the entertainment. It must be written in the third person, upon white note-paper of the finest quality, with an env elope to match. A gentleman accompanying a lady is not bound to give up his seat to another lady. His duty is to the lady he accompanies. When Visiting: A man should always remain standing as long as there are any women standing in the room. Do not scratch your head or use a toothpick, earspoon or comb. Breaches of Etiquette: Turn your chair so that your back faces another guest. To stare around a room. This is just a little taste of the many rules that were strictly followed during this time. When you come to see the show, try to take notice and see if the characters follow some of these points of etiquette!

by Jessa Cunningham, dramaturg Oscar Wilde was very much a product of his time, so it is only fitting to understand just what that time was before diving into the production itself. So what was the Victorian Era? The Victorian Era started in 1837 with the crowning of Queen Victoria to the British throne and ended in 1901 at the end of her rule. This time period was known as a time that involved relative peace and prosperity in the country. The British Empire expanded all over the globe during this time, and Britain became the most powerful country in the world. While this prosperity happened internationally, there were significant societal, artistic and technological changes that altered life in Britain for many years. While it was a time of peace and prosperity, it was also associated with words such as “prudish,” “hypocritical,” and “stuffy." But that is not true for every aspect. It does apply, however, to the upper and middle classes. The middle class was expanding during this time, and in order to become nobler and rise in status, many middle class people felt like they had to live properly like the other half and follow the rules and conventions in order to do that. And the upper class was certainly not short on rules-- but that is a post for another time! Among this, many middle class people, like Wilde, tried to marry up in order to get into proper society. As changes in class occurred, many other developments did as well, in London especially. New roads were cut through slums, a sewer network was constructed, ten bridges were built over the Thames, and three tunnels were built underneath it. So many things happened in these years that changed the face of London forever. With the continued development of the railroad, mass tourism became quite popular. Because of this, the arts saw a good change: the building of museums with the support of the Royal family. Prince Albert, Queen Victoria's husband, loved the arts and aided in the building of Royal Albert Hall, the Royal Opera House, the Victoria & Albert Museum, the Natural History Museum, and many other amenities that supported the humanities. Great writers rose to prominence during this time as well, including the likes of George Eliot, Rudyard Kipling, the Bronte sisters, and our friend Oscar Wilde. The works they produced were quite popular among the Victorian audience. The Victorian Era was the perfect time for Oscar Wilde to write his most famous play. Without the interesting dynamics that existed at this time to play on, The Importance of Being Earnest would not be as lasting a piece that it is.

by Robert Fuller, dramaturg One of the surreal aspects of this performance of Cyrano is the set. To learn more about its creation, I talked with scenic designer, Rachel Bowerbank. Here's a peak into her unique design. [caption id="attachment_4838" align="alignnone" width="529"] (Designs Courtesy of Rachel Bowerbank)[/caption] First off, as this play is one of our traveling shows (and has a small performance space) a compact, easily mobile set is required. With those restrictions in mind, Rachel began with an exploration of scenic design in past performances of Cyrano. In one of the plays most iconic scenes, Roxanne is on a balcony, as Cyrano woos her while impersonating Christian. Many times, this scene includes a curtain, or drapes in the scenery. Director Kris Jennings and Rachel loved this image and wanted to apply it to the set throughout the show. The drape of fabric connected to the importance of Cyrano's love letter. To fulfill this vision, Rachel designed a single drop, or sheet of canvas fabric, which is painted on both sides. On one side are words which allude to love, and water colored blots, matching the color pallets for the casts costumes, while the other side is a final letter Cyrano writes to Roxanne. As the play progresses, the letter is used as a table cloth, a flag, a funeral shroud, and more. It unravels with the play, allowing the audience to see more and more of the letter. Finally, at the end, the audience sees the entire letter, and sees how it perfectly captures Cyrano and his love for Roxanne. [caption id="attachment_4839" align="aligncenter" width="940"] (Designs Courtesy of Rachel Bowerbank)[/caption] Like what you see? To see the full effect, you'll have to come and see the show!

By Robert Fuller, dramaturg Kris Jennings, the director of Cyrano, used several unique techniques during the rehearsal process, which helped the cast with memorization, movement, and characterization. Under readers: Each member of the cast is assigned a fellow cast member to stand behind with a script and read their lines for them. This aids in memorization, and allows the actors in the scenes to have their hands free to focus on characterization. This also helps every member of the cast to stay busy, at all times, during the long parts of the rehearsal when their characters aren't onstage. Applying a single word to each scene: Before each scene, the cast members involved decide on one or two words that describe the scene. These words include anything from kiss, separation to protection, to verbal jewelry, and flat soda. These words help them to visualize the scenes, and the feelings involved. Strings: These are activities the cast participates in before each scene. Once the one word description has been chosen, they take turns performing nonverbal actions, that they feel embody the feelings being expressed in the scene. This allows them to have a feel for the actions of the scene, and allows them to convert these abstract methods to a literal performance. (This method is shown in practice in the video below.) These unique methods of rehearsing were partly taken from "Brian Astbury's Trusting the Actor." I was intrigued and amused by this method of directing. To see another company put these methods into action, check out this video from the National Theatre in London. https://www.youtube.com/watch?v=gUqZPfGIX6U

Robert Fuller, Dramaturg One of the most surprising things I discovered while researching this play is that Cyrano, and most of the people featured in the original play, were based off of real people living during the 16th century. This offered new depth to these characters and a new appreciation for the play by Edmond Rostand. Hector Savinien de Cyrano was born on March 6, 1619, in Paris France. He grew up with his cousin, Madeleine Robineau, who would inspire Roxanne, the woman Cyrano is in love with in the play. At the age of six, he would meet his lifelong friend, Henry Le Bret. These two would have a large impact on him throughout his life. As an adult, Cyrano would join the French Guards, and serve along side Anton de Gramont, the Count of Guiche, who was known for being married to the niece of Cardinal Richileu, a famous advisor to the King of France. He would also serve with a young soldier named Christophe De Neuvillette, who was portrayed as an important figure in Rostand's play. During his time in the French Guards, Cyrano would gain a reputation as a great sword fighter. After being wounded twice in battle, Cyrano retired from the Guards, and devoted his life to writing. His comedic plays, newspaper writings, and philosophical works would inspire many famous playwrights and philosophers, such as Moliere and Voltaire. He passed away on July 28, 1655. Years later, his biography was published by Le Bret, and eventually read by Edmond Rostand, who chose to immortalize him in his Comedy in Five Acts, Cyrano De Bergerac. When you see the play, watch for the similarities and the differences between the characters on stage and the people who inspired them. If you were writing a play, who would inspire your characters?

by Jessa Cunningham, dramaturg "You have been my friend. That in itself is a tremendous thing." This is one of the most famous lines from the show, and for good reason. This is how Charlotte expresses her gratitude for Wilbur letting her into his life, and now I would like to use it to thank all of you for letting us involved with the show into your life. Working on this show has helped me to see the important things in life: the friendships we make and how they change us for the better. At the beginning, Wilbur is so concerned about living a long and happy life. He only thinks of himself and the things he may miss out on. However, once he makes friends with Charlotte and the other animals, he sees that the life he has already lived was great. There is more to life than just living a nice, comfortable life. His friends teach him that, and soon he begins to look outside of himself. Wilbur becomes a better animal because of Charlotte and the barn animals. They teach him selflessness, cooperation, kindness, and inclusion. He heart is marked with their lessons and it helps him to see the importance in life. That is what makes Charlotte's Web so special: we get to see Wilbur go on this incredible journey, and by the end he is a completely different pig from who we see at the beginning of the play. At first, Wilbur laments about wanting someone to love him, and by the time the show ends he is ready to extend love to others, which he learned from his friends. The relationships that have been formed because of this show alone would make E.B. White smile. Friendships have been forged within the cast, the design team, the crew, and with you. That truly is an amazing thing, and hopefully that helped you to understand the themes of the play a little better. Thank you for coming to see us, for interacting with us. We hope that you know that all of the Lunch and Learns, the post show discussions, and the interactions with the cast after each performance were all for you. These opportunities brought us closer to you, the audience. We have become friends because of this, and hopefully you all have felt that too. I speak for all of us with the show when I say that we have loved getting to know all of you. My hope is that by watching and interacting with this story, we can all become a friend that encourages, protects, loves, and shows kindness and mercy. Let's all strive to be the Charlotte in our friendships in order to uplift and help others on a daily basis.

by Jessa Cunningham, dramaturg Meagan Flinders (Charlotte A. Cavatica) Who is your favorite character in the show? Why? I love Templeton because he is an absolute riot, especially with Teagan’s portrayal of the character; and I really do love Charlotte as well because she embodies numerous character traits that I aspire to attain someday. What is your favorite line from the show? “Scratch itchy places by rubbing against the fence” and “…what's in a life, anyway? We're born, we live a little, we die. By helping you, maybe I was lifting up my life a trifle. Heaven knows anyone's life can stand a little of that.” Did you have a favorite book growing up? If so, what was it? Before I could read, my parents would always read me Love You Because; Goodnight, Moon; and Guess How Much I Love You. As I got grew up, I read Eva Ibbotson’s Island of The Aunts and The Secret of Platform 13 and Sharon Creech’s Heartbeat more times than I can remember. Who was your childhood best friend? What did you two do together? My childhood best friend was Shaelynne Cottle. We got Subway on our carpool home from school on Fridays, had sleepovers after watching Barbie movies, went tubing in the lake close to her house, roasted hot dogs and smore’s and jumped on the trampoline in her backyard, and choreographed our own dances for our parents to enjoy. What are you most excited about with Charlotte’s Web? I am extremely excited to incorporate aerial silks in the show. It has been such a privilege to be able to learn this skill, and I think it enhances Charlotte’s character and relationships immensely. That, and the fact that it's both exciting and terrifying to be able to play such a beloved character, makes this show that much more to look forward to. Favorite animal? My last name means “butterfly” in Dutch, so I'm inclined to say butterflies are my favorite, but if I could have whatever I wanted, my house would have too many dogs to count, my backyard would be a pasture filled with horses, and then some butterflies would be able to inhabit the garden in my front yard. If you lived on a farm, what do you think you’d like the most about it? I would like the opportunity to ride horses when I wasn’t working and generally being around animals all day. Garret Rushforth (Wilbur) Who is your favorite character in the show? Why? I love Templeton. He’s just so ridiculously funny and arrogant in an endearing way. What is your favorite line from the show? "HURRY HURRY HURRY!" Did you have a favorite book growing up? If so, what was it? This one is hard. I loved to read. Still do, in fact. I don’t really have a favorite, but I did love Harry Potter, Ender’s Game and The Once and Future King. Who was your childhood best friend? What did you two do together? Jared Banks. I dunno I guess we pretended we were jedi. (Still do that one…) What are you most excited about with Charlotte’s Web? Working with such amazing people. I don’t know how I got so lucky! Favorite animal? Polar bears, or grizzly bears. If you lived on a farm, what do you think you’d like the most about it? Riding horses. That would be amazing. Devin Jarvis (Gander) Who is your favorite character in the show? Why? I like Uncle- he doesn’t have a really big part, but I think he’s hilarious! What is your favorite line from the show? “I think he’s the finest pig we’ve seen today!” Did you have a favorite book growing up? If so, what was it? Sideways Stories from Wayside Sch ool series Who was your childhood best friend? What did you two do together? Breanna O’Brien- we met in 5th grade and played foursquare and made silly movies together. What are you most excited about with Charlotte’s Web? I’m excited to simply be in a play again… it’s been too long since I’ve acted! Favorite animal? Horse or wolf If you lived on a farm, what do you think you’d like the most about it? Raising baby goats! Christine Detweiler (Goose) Who is your favorite character in the show? Why? My favorite character in the show is Charlotte because she shows what is means to be a true friend and take care of those you love. Of course the Goose is a close second ;) What is your favorite line from the show? My favorite line in the show is "Hurry, hurry, hurry Charlotte!" as said by the Gander. Did you have a favorite book growing up? If so, what was it? My favorite books growing up were definitely the Harry Potter series. Who was your childhood best friend? What did you two do together? My childhood best friend was Kestra Hart. I remember going to a sewing class after school with her. She was definitely a lot better than I was. What are you most excited about with Charlotte’s Web? I'm most excited about the aerial aspect of Charlotte's Web. I think it's going to be really unique and different. Favorite animal? This is going to be cliche but I love puppies! If you lived on a farm, what do you think you’d like the most about it? I think I would like getting to spend so much time surrounded by nature. Chelsea Mortensen (Sheep) Who is your favorite character in the show? Why? My favorite character in the show is Charlotte. I love how generous and quick-witted she is. I think I would like to have someone like her as a friend, even if she is a spider. What is your favorite line from the show? My favorite line from the show is Wilbur’s line when he is at the fair and waiting to find out if he will live or die. He says, “I have had a good life, and a good life is more important than a long one. From now on I’m going to stop worrying about myself. There are much more important things to think about”. Did you have a favorite book growing up? If so, what was it? I read all the time as a kid, so it’s hard to pick a single favorite. I really loved book series like Harry Potter, Artemis Fowl, Fablehaven, Pendragon, etc. Who was your childhood best friend? What did you two do together? My childhood best friend was my sister, Jamie. We would clean together, read books, go swimming, and watch movies together. What are you most excited about with Charlotte’s Web? I am most excited about the friendship that develops between all of the animals at the farm. Charlotte and Wilbur really bring us all together and make us feel like a family. Favorite animal? My favorite animals are horses. I think they are so beautiful and intelligent. I always wanted to have my own horse as a little girl. If you lived on a farm, what do you think you’d like the most about it? If I lived on a farm, I would love being out in the sunlight all day and learning how to make the plants grow. Michaela Scholz (Lamb) Who is your favorite character in the show? Why? My favorite character is the gander. He is extremely genuine. He tries so hard to do and say the right things but he is a little awkward so sometimes it comes out wrong. But he tries and that's all we can ask for. What is your favorite line from the show? "Hurry Hurry Hurry Charlotte!" the gander says it in a funny voice so I started copying him. I even started saying it to my roommates. Did you have a favorite book growing up? If so, what was it? The Ramona series. Who was your childhood best friend? What did you two do together? My best friend was my sister Madison. She was just a year younger than me so we were pretty tight. We loved to play games, but whatever we played I made her play the boy because I was the oldest and what I said was law. What are you most excited about with Charlotte’s Web? I am excited about Charlotte's aerial work. Favorite animal? Tortoises. If you lived on a farm, what do you think you’d like the most about it? Being outside. Teagan Clark (Templeton) Who is your favorite character in the show? Why? My favorite character HAS to be Templeton, absolutely. Templeton thinks very very highly of himself and I think that I have to think very very highly of him as well in order to do him justice on the stage. Templeton is the one who goes through the most change, in my opinion, and it's interesting to perceive that. What is your favorite line from the show? Edith has a line that goes "It looks like we have some extrodinary spider" and Homer responds "oh no its the pig that's extraordinary." And I love that little exchange. I think it's a moment where the play is aware of itself. Did you have a favorite book growing up? If so, what was it? I was/am such a big Harry Potter nerd. Those books were my childhood and my obsession. Who was your childhood best friend? What did you two do together? I had a couple, my friends Mckayla and my friend Michelle. We would often play pretend and create our own stories out of nothing. What are you most excited about with Charlotte’s Web? I'm so excited for the audience to get a fresh take on these classic characters and this gorgeous story. Favorite animal? I'm actually a big fan of rodents! I absolutely LOVE guinea pigs, but rats are a close second! If you lived on a farm, what do you think you’d like the most about it? Probably eating all the farm fresh food. At my parents house,we have chickens and getting fresh eggs to eat every day is such a special treat. Now that you are well acquainted with some of our cast members, you are ready to see them in action on the BYU stage. Charlotte's Web runs from May 27- June 11! Come visit us on the farm!

by Jessa Cunningham, dramaturg Before you come to visit us at the Zuckerman farm, we figured it would be a good idea if you got to know a little bit about the cast. Over the next few posts, members of the cast will answer a few questions so you can get better acquainted! Kennedy Brandon (Baby Spider, Fair Goer) Who is your favorite character in the show? Why? Wilbur because he is the silliest. What is your favorite line from the show? "What are your names? May I have your names please?" What was your favorite book growing up? Hop on Pop by Dr. Suess Who was/is your childhood best friend? Lydia What did you two do together? We Like to play in the snow together! What are you most excited about with Charlotte's Web? Wearing a cute costume and being onstage. Favorite animal? Puppy If you lived on a farm, what do you think you'd like the most about it? Riding horses Carter Brandon (Fair goer) Who is your favorite character in the show? Why? Wilbur because he has great facial expressions. What is your favorite line from the show? "I bet he's the finest pig we've seen today!" What was your favorite book growing up? Piggie and Gerald Series by Mo Willems Who was/is your childhood best friend? Coleton What did you two do together? We have lots of fun jumping on the trampoline and riding bikes! What are you most excited about with Charlotte's Web? Getting to dress up in costumes. Favorite animal? Elephant If you lived on a farm, what do you think you'd like the most about it? Getting to know about different animals. Mason Brandon (Fair goer) Who is your favorite character in the show? Why? Wilbur. I really like his personality-- he's funny. What is your favorite line from the show? "It's either freedom, or the frying pan!" What was your favorite book growing up? Dinosaurs Love Underpants by Claire Freedman Who was/is your childhood best friend? Issac, Gage, Kail, and Bear What did you two do together? We play video games together. What are you most excited about with Charlotte's Web? Getting to perform in it. Favorite animal? Monkey If you lived on a farm, what do you think you'd like the most about it? Lots of open spaces. Jane Miller (Fair goer and Baby Spider) Who is your favorite character in the show? Why? Charlotte is my favorite because she is very confident. What is your favorite line from the show? "They are fattening you up so they can kill you." What was your favorite book growing up? Go Dog, Go! by P.D. Eastman Who was/is your childhood best friend? Grace is one of my best friends. What do you two do together? One day we sold half slices of toasts door to door and we made $33.00! What are you most excited about with Charlotte's Web? I am most excited to be onstage and perform. Favorite animal? A dolphin If you lived on a farm, what do you think you'd like the most about it? If I lived on a farm I would love to have my own horse and ride her every day. Connor Dahle (Baby Wilbur) Who is your favorite character in the show? Baby Wilbur What is your favorite line from the show? The sheep telling Wilbur he is going to die. What was your favorite book growing up? Harry Potter and the Deathly Hallows by JK Rowling What are you most excited about with Charlotte's Web? The costumes Favorite animal? Dog If you lived on a farm, what do you think you'd like the most about it? Playing and seeing the animals. Rachael Beck (Reporter) Who is your favorite character in the show?Why? Charlotte is my favorite character because of her selfless intelligence. What is your favorite line from the show? "It seems to me we have no ordinary spider." Who was/is your childhood best friend? Books were my best friends growing up. What are you most excited about with Charlotte's Web? I'm excited to help tell this story that I love so much to others. We have such a great cast and crew helping spin this beautiful web. Favorite animal? Otters Edie Hall (Photographer) Who is your favorite character in the show? Why? My favorite character by far is the Gander. He has such confidence and humor, especially when he is offering words of encouragement to Wilbur or the Goose. What is your favorite line from the show? My favorite line in the show is "Looks like a prize winner to me" because that's my line. What was your favorite book growing up? When I was growing up my favorite books to read were the Junie B. Jones collection. Who was/is your childhood best friend? My childhood best friend was probably my brother because we shared the same humor. Also, he was easy to manipulate. What are you most excited about with Charlotte's Web? For Charlotte's Web I am most excited about just performing in general. Favorite animal? My favorite animal is a lion. They're relentless and mighty. If you lived on a farm, what do you think you'd like the most about it? If I lived on a farm, the most enjoyable aspect would be chillin' with baby chickens. Stay tuned for more cast members over the next few posts!

by Jessa Cunningham, dramaturg A few weeks ago, I had the opportunity to interview Meg Flinders, our fabulous Charlotte, at one of her training sessions. She has been working hard at learning the aerial silks for the show, so we chatted about this unique experience and how it relates to the show! Me: What is this training experience like? Meg: Well, you obviously have to start with the basics. But we move pretty fast, so I just learn something new every time I come in and a lot of it is progression based so it just keeps building on top of each other. I also have to do a lot of outside work on my own to do strength training because this takes a lot of strength because you get tired really fast. Most of it is learning by doing which is actually great because it’s not something you can really do by reading about it. So you just have to go for it and figure it out and hope it works. Me: What kind of daily things are you doing? Meg: So a lot of it is arm strength, so I do planks, side planks, push-ups and pulls ups and pull downs, triceps dips and holding a handstand against a wall. Those are the biggest ones I do. Then I do a lot of leg lifts and sit ups and ab work that doesn’t really have to be specific. When you’re up in the air you have to be able to both hold yourself up and be able to lift your legs up into a V or in front of you so it is a lot of core work and arm strength so I do any work that’ll help strengthen those muscles. Me: Do you feel like this is helping you understand Charlotte more? Meg: Yeah, in a way it is. And actually it’s interesting because in the play a lot of people forget about Charlotte and the work she puts into it. They focus on the word and how it exemplifies Wilbur. They think the word is beautiful and the web is beautiful and they connect it to Wilbur and think it’s great. But they forget how much Charlotte is working night after night. It’s just interesting because I am not quite at the professional level yet, but watching some of these other people who can do a lot more and have routines already--it looks gorgeous and effortless. But then I try some of the basic moves and it’s so hard. So it’s just interesting to connect that, because by the end of the play Charlotte is really tired and worn out so I can do method acting in that way. Me: What’s the hardest move you have to do? Meg: Sometimes just the basic moves. Like being able to get the silks in the right spot so you don’t fall out. Or sometimes it’s just the transition, or just rotating through that are in so many different moves. But I think the one I just worked on, which is called the Flamingo (and I know it’ll get a lot more complicated!), is hard because it’s just like remembering which direction to rotate, which leg hooks where, and whether it’s[the silk] supposed to go on the outside or through the middle. So honestly that what’s the hardest. It takes a lot of thought before it becomes natural. But you can’t really stop in the middle of a move to figure it out otherwise you lose your momentum or it just won’t happen. Me: What are you most excited about with the aerial silks? Meg: I am excited to feel comfortable with it! I am excited for when it gets to the point where we can do choreography and when that choreography can help enhance the character and the show. Because I think it is going to be such a different experience to not be a spider walking on the ground, but to be in the air. I think it is going to affect the character a lot, which I am really excited about. It’s going to help me make a lot of discoveries as well as just being really exciting to learn a new skill and have that experience of working hard to get good at it, because that’s always so rewarding. I’m just really excited to see how it plays into the show and the character. Me: What’s your favorite move to do? Meg: Oh boy! When I can get it, the hip keys are really fun! It’s just like you’re whacking your legs and all of a sudden you’re on your side and the silks are holding you up and you’re not holding on. So that’s exciting just because of that feeling of finally getting it and it’s secure. That’s great. So hip keys are fun! I like doing the split rollup—right now all of my favorite moves are the easy ones because those are the ones I can do! But those are my favorite ones at the moment!

by Jessa Cunningham, dramaturg Come one, come all! Come along and see Zuckerman's famous pig-- the miracle pig! He is quite a sight to see, I do tell you. Get a little closer so you can get a real good look at him. We're awfully happy that you want to come and see Wilbur. In just a few weeks, audiences will have the opportunity to see the famous Zuckerman farm onstage here at BYU. It'll be quite the occasion. People from counties all over will be coming to see these beloved characters! In the mean time, though, I am here to keep you in the know with all that is happening while we prepare the farm for your arrival. As we bring this beloved story to life, there will be plenty of fun things to share. Stay tuned for interviews, brief glimpses into the rehearsal process, insights into the world of Charlotte's Web, and other great events that happen along the way. Wilbur, Charlotte, and the rest of the animals are so excited to become your friends!

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

By: Eric Stroud, dramaturg Last time we discussed Director David Morgan's usage of a tree in his concept for this show. A representation of "human kind," the tree is an omen of what might befall those who hold a soft spot for war mongering. However, David's concept ("any war we have today, is simply evidence that human kind has not learned from its mistakes.") is not clearly accomplished with just a tree that is center stage. Circles are also an important part in this production of Mother Courage. While the tree may represent "human kind" for David, the circle represents the monotony of human kind's choices. In this play, killing shows up constantly, in dialogue, implications, and actions. Davod felt that the cyclical cycle of killing that has existed since the dawn of time can easily be represented with a circle. Additionally, watch as Mother Courage pulls her cart around the tree, over and over. Pay attention to how her lack of progress makes you feel. Does it frustrate you? Did you even notice it? As you watch the show, ask yourself whether or not you agree or disagree with Mother Courage's choices and write about it in the space allotted in your program. However, perhaps David draws his circle concept from Brecht's play on the idea of repetition through dialogue. One of my favorite examples of this comes in the scene proceeding the intermission. Mother Courage's daughter Katrin has just been attacked. She stumbles into camp with a dazed and downtrodden look to her. Mother Courage makes an attempt at consoling her, but is unsuccessful. In her frustration she exclaims, "curse this war!" However, this exclamation is quickly followed by this line at the start of the next scene, "I won't have my war all spoiled for me!" One second Mother Courage is cursing the war and the next she is claiming it fondly as her own, "my war." This hypocrisy is Brecht's showing of repetition. There are countless times in this play where characters act opposite to what they claim. It is easy to see that Davod's concept draws from this inclusion of confusion by Brecht. It plays on the idea that just as Brecht's characters never learn, or progress, neither does the human race. In my next post I will explore my lobby display. Tune in to read about where I got my ideas and how it ties in with the show.

by Haley Flanders, dramaturg Hello! Our show is up and running in the Margetts Black Box Theater on the first floor of the Harris Fine Arts Center on campus. Tickets are going fast! We will be having a post-show discussion on Thursday, March 24 around 9:50 pm in the theater, so even if you are not attending that performance, we encourage you to come and stay for that unique opportunity to ask questions to the cast and production team about the creation and performance of this fabulous show. EXTRA! EXTRA! Did you know that BYU's production of "The Taste of Sunrise" was in the local news? Click here to read an article about our show, featured in the Deseret News. The article is called. "BYU unites hearing, deaf communities in 'Taste of Sunrise'." It is a great interview with tons of insight from cast members, director Julia Ashworth, and stage manager Heather Richardson. This quote from the article encapsulates one of my own observations, which I believe is a major incentive to see this unique piece of theatre: The shadow signing featured in “The Taste of Sunrise” means that there are two actors for each part — one that speaks vocally and one that signs. “You really do get double the energy and double the emotions because you do have two people for each character,” said stage manager Heather Richardson. “Even if you don’t understand (sign language), it adds so much visually, emotionally. It’s very powerful.” [caption id="attachment_4553" align="alignright" width="202"] Video montage of 13 members of the local Deaf and Hard of Hearing community.[/caption] And not only do you witness two characters in every role - one speaking and one signing. You also have two ways for learning about members of the local Deaf and Hard of Hearing community! In the lobby, you can watch them sign their stories in a video montage, AND read the translations of the signing on the back wall as you wait to enter the theater, as you hang out during intermission, or as you exit the theater at the end of the performance. [caption id="attachment_4554" align="aligncenter" width="342"] Translations of the people in the video montage.[/caption] Below are the translations featured on the back wall of the lobby display, just in case you do not have time to read all of them when you attend the show. These people graciously volunteered to share their stories and inspiring messages, just like the character Tuc does throughout the play. It was Julia's hope that this production could highlight and bring a voice and attention to the often silent members of our community, and to let their messages of hope and identity further enhance the audience's experience as they follow Tuc on his journey toward an identity and a place to call home. Although Tuc is a fictional character, these people featured in the lobby display are real people in our own community, with powerful messages to share. They can truly empathize with Tuc and help to further emphasize the message of the play: to always focus on people's abilities rather than any abilities they may lack. I hope their stories through sign and text inspire you the way that have inspired me. (Note: Below is a collection of photos I took during the final dress rehearsal last week. To see the faces of the community members, you'll have to come and see the video!) Hi, my name is Riley. This is my name sign. I have become rooted in Deaf Culture because I love sign language. I feel I can express myself well in sign. Deaf Culture is awesome for me. I socialize with a lot of Deaf people, and even though the Deaf Community is small, I feel connected to them. I have learned a lot from them. I also enjoy learning from hearing people and experiencing both the Deaf and hearing worlds together. I enjoy both. Hi, my name is Jacob. I am Deaf. My life is an interesting story. I was born Deaf. I have two cochlear implants, but I’ve felt really drawn to being around the signing community and learning ASL. It has been important in helping many people to be able to understand each other and have good relationships with friends and family, just like God’s community—we are all brothers and sisters. Thanks. My name is David. I am hard of hearing. I grew up in a family with a father and older brother who are also hard of hearing. I have always felt I could succeed in life by learning from their examples. When I was 19, I discovered ASL and started learning it. I loved it. I was fascinated. I felt I could really connect with others. I had better access, ability to communicate and connection. That’s why I really love ASL. Hi, my name is Jason. This is my sign name. I am hard of hearing and grew up oral (speaking and listening). I always struggled to understand and catch things. During my mission, I learned ASL. I was amazed and so motivated to learn it because I could finally understand everything that was being said! I was excited! Now here at BYU, I continue to be excited to be involved with programs and helping other people learn ASL. I enjoy so much being involved with the Deaf Community. It’s really great to be able to understand what people are talking about. I feel I can connect with them easier. That’s why I love ASL: I can understand people. My name is Terrence. I was born Deaf in Santa Barbara, California. I started learning sign at age 2. Then in elementary school, I enjoyed being around Deaf friends. I had best friends that I could understand because we signed with each other. They had good language skills with facial expressions and body language. I really enjoyed that. Then at about age 5, my family moved to Utah. I met new Deaf people. I continued to be involved in the ASL Community and fascinated by ASL story telling. I went to a Deaf Ed. Program where I had interpreters and a sign language classroom. I really enjoyed that experience. How does this apply to my life now? I have a Deaf identity. I understand facial expressions, body language, Deaf Culture, and so many things. My language has improved so that now I am fluent. I can go to the Deaf Center for basketball or other Deaf activities, and because of all I learned growing up in the Deaf world, I can understand. It continues to be really powerful to have Deaf Culture be a part of my life. I’m really grateful I had sign language my entire life. Hi, my name is Chad. I grew up Deaf in a hearing family. When I became involved in the Deaf Community, I had access and the ability to communicate. I was able to be an equal participant. The Deaf Community has been a powerful instrument in helping me understand and be able to communicate. The Deaf Community has not only helped me but so many other Deaf people. The Deaf Community really is like a family. Hi, I’m Kristine. I became Deaf at age 2. What I learned from my family is it doesn’t matter that I’m Deaf. I am who I am. Many people have told me I can’t do things because I’m Deaf. When they say that, I prove them wrong. I can do whatever I want. It doesn’t matter that I am Deaf. It’s a hard life, yes, but I can do it. Hi, my name is Ben. I was born Deaf and grew up going to a hearing school, learning to speak and lip-read. I didn’t sign until I was 18. Growing up, I struggled to connect to the hearing community. I really felt it wasn’t my identity and something was missing in my life. When I was 18, I started meeting Deaf people and becoming involved in the Deaf Community and learning ASL. I really felt a strong connection. I knew that was my culture and language. I am now 25 so I’ve been involved with the Deaf Community for 7 years. I met my wife; I’ve been able to teach my kids sign language. I have felt more connected to this Community. I feel grateful for what ASL has given me in my life. Hi, my name is Nina. I grew up Deaf. When I was born Deaf, the doctor couldn’t figure out what had caused it. Still to this day, we don’t know. I attended different schools, but one school, JMS, was where I acquired sign language and found my identity. It was powerful. Then JMS “shut down” for a short time and merged with USDB. The culture of that school was to tell me all the things I couldn’t do. And I thought, “No, I can!” I learned that at JMS. I can do all these things! That really was the beginning of a life-long fight to overcome obstacles. Just like with getting my interpreting certification, that’s just one example of proving I can accomplish whatever I want. Hi, my name is Ariana. I was born and raised Deaf. When my family found out I was Deaf, they started learning ASL, taking classes and different things as much as they could. They really took advantage of opportunities to learn. I grew up being able to communicate, interact, and joke around with my family. I watched my Deaf friends struggle to communicate with their families. They were so limited with speech and their family knowing minimal sign. I was amazed by the comparison. My family let me develop my Deaf identity. I have been involved in Deaf Culture and Community my whole life with sports and different activities. Being Deaf is a huge part of my identity. I’m really proud of that. I want to make a difference in the hearing community by being an example to hearing people that they can learn sign language and communicate with everyone. My name is Marlene. I grew up attending the Deaf Institute in Idaho. I love Deaf people. I enjoyed being around Deaf friends and being involved in the Deaf Community. I was always happy and proud to be Deaf growing up. I attended a hearing college, and I felt a little bit lost with limited communication. Then I attended Gallaudet University, and I loved being around people just like me. I knew who I was when I was around Deaf people. It felt normal to me. When I was around Deaf people growing up, I felt like I wasn’t any different. I was normal. Really, I love my life. My name is Eric. I grew up at the Kansas School for the Deaf. I entered school in 1973 and continued there till graduation. I loved the Institute because I loved being around Deaf people and learning from their examples all the things I could succeed at. The attitude there was “DEAF CAN DO!” I had equal access to communication. There was a great sense of camaraderie, and we felt like brothers and sisters. We were like a big family. After I graduated, I attended Gallaudet for 2 years. There I felt an even more powerful ideology that Deaf can succeed at anything. I loved that and thrived. That’s my story. Hi, my name is Cami. I grew up Deaf. My parents are Deaf. There were 9 children in my family, all Deaf or hard of hearing. I always thought I was normal and just went about my life. I am hard of hearing so I can hear to use the phone. I have been involved in both the hearing and Deaf worlds. When I was about 30, I had to travel a lot for my job, giving presentations. Two different things happened. One time I was giving a presentation on captioned phones. I was explaining that the person calling can listen but also see what the other person says by reading captions on a screen. I mentioned that I can speak on the phone for myself. As I was explaining this, one man said, “I want to hear you talk.” I was thrown off by his comment. I had been giving my presentation in sign so it felt very awkward to talk. I felt like my world was turned upside-down. Later that week in a meeting with my co-workers, they told me “You can just be direct and tell that person that you choose to sign.” At that time, the significance didn’t really hit me. I was just like, “Oh.” Then later I was at a hotel because of traveling. Always at a hotel, I communicate with the staff by writing back and forth first, because if I talk to them, they think they can just talk back to me, and I can’t understand. So I wrote to communicate while checking in, and then I went up to my room. I had some problems with my room so I called the front desk to tell them. That same woman was so mad! She said, “You forced me to write all those things!” I was so flustered, and I started crying. Just then my boss contacted me, and I was explaining everything that had happened. My boss was hearing but had a Deaf son. She said, “It’s your choice. Just be direct and tell them “It’s my choice how I communicate.” At that time, I realized that if I wanted to sign or if I wanted to talk, it was my choice, and it was OK. That really impacted me. Thanks and enjoy the show!

by Eric Stoud, dramaturg Not many actresses can say that they have played the role of Mother Courage three times. However, Barta Heiner is not just any actress. A member of the Screen Actors Guild and AFTRA, Heiner has performed more than 100 roles and directed more than 40 productions. Some of her favorite theatrical roles include Lettice in Lettice and Lovage, Florence Foster Jenkins in Souvenir, the title role in King Lear, Mrs. Lovett in Sweeney Todd and Mary Whitmer in The Fourth Witness. Her recent roles in film have been Verlene Bennion in Cokeville Miracle and Sergent Major Nedra Rockwell in Once I was a Beehive. Barta Heiner is on the BFA Acting Committee at BYU, where she teaches acting and directs productions during the theatre season. She received her bachelor’s degree in theatre from BYU and her master’s degree in acting from the American Conservatory Theatre. Upon completing her academic degrees, she acted professionally with the Denver Centre Theatre while both teaching and directing for the National Theatre Conservatory in Denver. She has served as an acting and dialogue coach and consultant on such films as: The Testaments of One Fold and One Shepherd and Emma Smith, My Story. She also was involved with a student-mentored film project called Diantha’s Crossing, a project inspired by her great, great aunt, Mormon pioneer Diantha Farr Clayton. It has been aired on BYU television. As busy as she is with this production of Mother Courage, Barta kindly took the time to answer a few of my questions in this short interview: Eric Stroud: How does it feel to be doing Mother Courage as your last play at BYU before you retire? Barta Heiner: Honestly, I’m not sure I have had time to think about that…There are about four other shows that I would have rather done. Shows that were of a lighter vein, but still had pathos and important things to say. Since we have gone through three versions of “Mother Courage", it has been a bit of chaos for me trying to memorize lines and forget some of the ones I had already learned. ES: Having done Mother Courage in the past more than once, what themes or parallels do you find that the director of each production has held in common? BH: The same theme that Brecht had. It is a classic anti- war play. For me the difference between this and the original anti-war play “The Trojan Women” is that Euripides showed “humanity” on both sides. You saw the loss and pain and suffering of the women of Troy, but you also saw the compassion of the Greek, Talthibius who has to carry all of the messages of “doom” to the women. “Mother Courage” shows more darkness, irony, stupidity, futility, horror, but it also shows how the people still find humor in their lives in spite of the devastation and hunger around them. Katrin, who is the only gleam of goodness in the war is silent, yet still finds a way to make a difference by her actions. ES: What is Mother Courage’s mission to you? BH: Mission??? Survival…”All I want is for me and mine to get through this war." ES: What has been your favorite part about playing Mother Courage? BH: Hmmm…Favorite part….I don’t know if I have one yet…I’m still memorizing. But I do like that there are many levels to her, there is both comedy and drama. ES: What perspectives have you gained specifically from this Brechtian play? BH: In spite of chaos, it is important to care for one another. This show is going to be fantastic. Barta is one of the most talented and connected actresses that I have seen on stage. It has been a joy watching her exploration in rehearsals and I can guarantee you will not be disappointed when you come and see the show. Tune in next week for more information about Director David Morgan's concept.

by Haley Flanders, dramaturg [caption id="attachment_4457" align="aligncenter" width="800"] Photography by: Mark A. Philbrick/BYU Photo Copyright BYU Photo 2016 All Rights Reserved photo@byu.edu (801)422-7322[/caption] Welcome! Our play opens in less than 2 weeks! Thursday, March 10 is the final dress rehearsal, and patrons are invited to purchase tickets for this performance. Then we officially open on Friday, March 11! We look forward to seeing you there. As preparation for attending this performance, this blog post includes a list of American Sign Language (ASL) featured in other examples of theatre and film. This will give you some history of ASL in performance and provides many resources if you become interested in learning more about ASL after experiencing The Taste of Sunrise at BYU. The bulk of this text came from the Educator's Resource Packet for the third play in this Ware trilogy, The Edge of Peace, produced by the Seattle Children's Theatre. Click on this link to access the PDF. [caption id="attachment_4456" align="alignleft" width="169"] Billy Seago[/caption] Let me first introduce Billy Seago. He collaborated with playwright Suzan Zeder on the development of Tuc in all the plays in the trilogy. Here is an excerpt of his interview with Seattle Children's Theatre in 2013 for The Edge of Peace: What are some interesting or unusual challenges have faced as a Deaf actor and how do you work with it? Billy: As a Deaf actor, I normally translate my lines of the script from the English text into American Sign Language for all the plays I am involved with. The Edge of Peace—as well as Mother Hicks and The Taste of Sunrise—were particularly challenging. American Sign Language (ASL) is a unique visual language with its own distinct structure, syntax and grammar. Information is conveyed not in sounds, but with the shape and movement of the hands and other parts of the body, and with facial expressions, including mouthing (making mouth movements without making any sound). ASL has dialects, with variations in signs and movements depending on region, where the signer went to school, who taught him/her ASL, at what age the signer learned ASL and how active the signer is in the Deaf community. So one of my challenges was to ensure that Tuc’s sign choices were based on the region around Ware, Illinois, the […] time period, the lack of fluent signers in Tuc’s early developmental years, the development of his “home signs” (personally invented signs) and his subsequent exposure to ASL at the State School for the Deaf. The sign choices also needed to reflect the natural progression of his sign development as he gained more education. NOTEWORTHY ASL PERFORMERS, PRODUCTIONS, AND VENUES:

by Eric Stroud, dramaturg Everyone loves to throw around the term "Brechtian". When most people use the term it is in their description of a piece of theatre. Often, they are implying that piece of theatre is non-traditional, and in fact, acknowledges that it is theatre. It has become a sort of blanket statement for all theatre that is different than traditional. However, when people use "Brechtian" in these ways, they are using it incorrectly. What we must understand is that Brecht subscribed to a very specific type of theatre, called Epic Theatre, and then added elements that were unique to his needs and wants for theatre. So what is Epic Theatre?