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by Haley Flanders, dramaturg [caption id="attachment_4401" align="alignleft" width="224"] Abbie Craig from the cast signs each letter of the American Sign Language Alphabet. Look for this page in your program and try your hand(s) at ASL. Can you spell your name?[/caption] The Taste of Sunrise is so unique because it is bilingual; it is performed in American Sign Language and spoken English at the same time. This might seem confusing to produce and to watch. This is how it is done: If characters (not the actors, but the characters in the play) are Deaf, then they sign their lines while someone (usually another actor who looks like them) stands near them and speaks their lines. This is so that the Hearing audience can understand what is being signed. These characters are called "voice" characters, like "Tuc's Voice", played by Sean Worsley. If a Hearing character is speaking, then another performer stands near them and signs their lines. This is so the Deaf members of the audience can understand what is being said. These performers will be called "ASL performers" in the program and many actors double as named characters in the play and ASL performers for other characters. So for every character, there are two actors on stage. However, there are certain times when a character speaks and signs at the same time. This means only 1 character needs to be on stage since both Hearing and Deaf audiences can understand the dialogue. Sometimes a Hearing character interprets Tuc by saying his lines aloud while they are having a conversation, so in those instances, a "voice" character is not needed. [caption id="attachment_4403" align="aligncenter" width="248"] Actor Sean Worsley's character is called "Tuc's voice" because he speaks the lines of Tuc, who signs everything since he is a Deaf character. Sean is standing to the left of Ben Featherstone, the Deaf actor playing Tuc. Notice how they look AND stand alike.[/caption] Another fascinating fact about this play is the required casting. Suzan L. Zeder, the playwright, requires that the actor playing Tuc in The Taste of Sunrise be an actual Deaf actor, not just an actor pretending to be Deaf. For our production, we actually obtained not only a Deaf actor to play Tuc, but two Hard of Hearing actors as well: Ben Featherstone is playing the role of Tuc. Ben is deaf, but wears a cochlear implant so that he can read lips and hear vibrations. Jason Keeler is playing the role of Roscoe and an ASL performer and is Hard of Hearing. David Hampton is playing the role of Dr. Grindly Mann, a Hunter, and an ASL performer and is Hard of Hearing. He is also the ASL coach for this show. INTERPRETERS: Another unique element to this show is how to rehearse it. Even though Ben wears a cochlear implant, he will not be wearing them for the show, since they did not have them during the early 20th century (the time period of the play). Therefore, he often rehearses without it, and two ASL interpreters have been hired to attend rehearsals and translate what is being said by Julia Ashworth (the director) and anyone else speaking directly to him. The two interpreters, Kim and Ann, work for the BYU disability center and often interpret for other BYU shows on select nights. [caption id="attachment_4406" align="aligncenter" width="300"] Kim translates Julia's directorial instruction for Ben since he often does not wear a cochlear implant in rehearsal, in preparation for when he will not wear it in the show.[/caption] This is a really fun process to watch. Often times Ben, Jason, and David will sign to one another while other conversation is occurring, or they will choose to sign instead of speak during a rehearsal break and the interpreters will translate. There are also members of the cast who are ASL students and can understand ASL even though they are Hearing. Furthermore, Ben, Jason, David, and some other actors from ASL classes have never acted before, so this is an exciting rehearsal process since they are brand new to theatre! Overall, the rehearsal and production process for a bi-lingual play is challenging but trust me, it will be worth it! TAKING ON THIS BI-LINGUAL CHALLENGE: A WORD OF WARNING AND ENCOURAGEMENT FROM THE PLAYWRIGHT

[caption id="attachment_4360" align="alignnone" width="800"] Toby and Maria being directed by Professor Jones[/caption] by Christian Riboldi, dramaturg Last week we closed our doors to the BYU audiences and this week we began our traveling tour. Recently on our blog we were able to learn a little bit about each of our cast members in order to learn how each on is a little different from the other. This show has been an adventure from the start. For those of you unaware of how long Young Company productions have to be rehearsed it's only about 4 weeks total. That's not a lot of time to put together an entire show let alone a piece of Shakespeare. For everything to work we needed efficient rehearsals that could serve as effective problem solving sessions. The only thing that could solve our issues was rehearsal, our metaphorical snake oil. The cure for all the challenges that come with putting on a production quickly. The two main challenges we needed to overcome during the rehearsal process were understanding the language and story of Shakespeare, and sharing that story in a way that helps others, especially kids, to understand and enjoy the story as well. In this blog post we will focus on how we overcame the first challenge during the rehearsal process. Before our rehearsals began, our talented adapter Rick Curtiss, the director Professor Jones, and myself, worked for over a month on cutting the script down from a 3 hour show to a 50 minute show that contained only the essential characters and scenes in it. As a part of that process we passed around draft after draft, checking for gaps in the placement of the scenes and the lines. One of the goals of Professor Jones was to maintain Shakespeare's language throughout the entire play. So aside from the songs, and a few western expletives, every word of the play is in the original script. [caption id="attachment_4361" align="alignnone" width="800"] Sebastian discovering how sad he needs to be. Professor Jones directing[/caption] By the time the script was ready we had just cast the show with our amazing actors you learned about last time. Our first rehearsal with the actors was about understanding the vision of the director and how Twelfth Night helped tell that story. The first few rehearsals were all done from a table reading through the script and trying to understand what the meaning of certain phrases and words were. If anyone had a question about a phrase we wrote it down and kept moving. By the time Christmas break came we had read through the play a couple times and answered most of the questions that had arisen through reading the script. [caption id="attachment_4362" align="alignnone" width="800"] Feste learning learning how big his reactions need to be from Professor Jones[/caption] Once January hit and school started again, all of the actors were expected to be memorized completely, so that we could continue with the rehearsal process unencumbered by our scripts. The interesting this is that even though many of the questions were answered during the read through about the script, it wasn't until we stood up and began adding movement to the mix that we began to learn what questions we hadn't answered yet. Whenever one of these questions arose about words or motivation they were addressed immediately or right after rehearsal during notes and we moved on. This challenge of understanding the play required continual effort throughout the entire rehearsal process. Next time we will discuss how we had to use that knowledge and understanding of the play and transform that into a production that helped others understand Shakespeare.

by Haley Flanders, dramaturg [caption id="attachment_4314" align="alignright" width="216"] Poster for the Production by University of Texas Theatre and Dance department[/caption] Hello! To continue my trend from my last blog post, where I summarized the first play in the Ware trilogy, Mother Hicks, this blog is about the last play in the trilogy, The Edge of Peace. This was Zeder's final play as a college professor and was workshopped at the Seattle Children's Theatre (SCT) like the first two plays in the trilogy. In the play, the setting is Ware in 1945, near the end of WWII. Characters from the previous plays such as Tuc, Mother Hicks, Clovis P. Eudy, Ricky Ricks, Girl, and Maizie (known as Margaret) appear in this play! Here is a short summary from SCT's website, when they produced the play in March 2013. To visit the site, click here! "This touching exploration of community dynamics and the strength of individuals is the final play in an acclaimed trilogy by Suzan Zeder. The series explores the life of Tuc, a Deaf man, as he evolves from the town outcast to a beloved resident. The Edge of Peace is set at the end of World War II, in the small town of Ware, Illinois and centers around Buddy, the younger brother of a soldier at war. A cast of compelling characters – Tuc, a soldier’s worried relatives, an old widow with mysterious ways, and a grown orphan Girl – all seek truth and healing. We witness the power of community as they come to understand what’s behind their façades and long held prejudices." The play was also performed at the University of Texas at Austin, where Suzan Zeder worked as the head of the playwriting department. Here is an incredible video and sneak peek into this production, and some insight from Zeder, herself! https://www.youtube.com/watch?v=_7BHb0uEhHg My favorite quote from the video: "Sign language is the most poetically visual, beautiful language you can imagine on stage. And I was captivated by the sheer power of what that language looks like in performance." Here, Zeder works with the actors to help produce this production as her final project at the university. On February 1, 2013, the Austin Chronicle published an article about this process. It was titled, "Letting Go, With 'Peace': Champion for new plays Suzan Zeder closes her career at UT with a new drama of her own". Click here to read the entire article. Here are some great pictures from the Seattle Children's Theatre production of The Edge of Peace, with some description to provide you with a some more plot. The pictures are from the same link as the quote at the top of the blog. Here, Buddy Ricks and Clovis P. Eudy are at the local market. Clovis is showing Buddy on the map where his brother Ricky (from Mother Hicks) is stationed as a soldier for the war. He has been declared missing in action and Buddy refuses to believe that his big brother is dead. In this play, Tuc is in his late 20's and is the postman. He communicates with Mother Hicks on the stoop, probably deciding what to do about being offered a position to move to Akron, Ohio to be a mechanic for the Goodyear Plant. There is a large Deaf community in Akron during this time. In this picture, Mother Hicks appears to be speaking with Ricky Ricks after he secretly returns home. His family does not know yet. Mother Hicks had been listening to the radio to try and find out about Ricky's status and location. Many felt she was a spy for the Germans because she was listening to Germans on the radio. ZEDER SUMS UP THE TRILOGY: Zeder wrote a powerful insert in the education packet for Seattle Children's Theatre's production of The Edge of Peace summarizing her experience and journey writing all 3 plays over 3 decades. Here is an excerpt: "In 1982 SCT commissioned me to write a play called Mother Hicks. The original production in 1983 was directed by Rita Giomi. The response to Mother Hicks was remarkable, due in no small part to the powerful presence of the Deaf character, Tuc, and to the artistry of Deaf actors who have played him over the years. Thirteen years after I wrote Mother Hicks, I gave Tuc his own play, The Taste of Sunrise. Once again SCT commissioned the play, and the original production in 1996 was directed by Linda Hartzell and featured Billy Seago as Tuc. Now, seventeen years later I return to Ware to finish the stories of characters who are as real to me as my own family. Although each play tells its own complete story, taken together the trilogy leads us through three pivotal eras of American history as reflected in the lives of the families who live in Ware. At the core of each play is an issue important in the interaction of Deaf and hearing cultures. Each play also tells the story of a child facing as tough a time as he or she will ever face, with courage, with humor, with imagination, with grace. The young characters who inhabit these plays have taught me by their example. They have inspired me. I am not sure if I have created them or if they have created me. These plays span thirty years of my writing life and thirty years of artistic partnership with Seattle Children’s Theatre. We have all grown up and grown older together, characters and collaborators alike. But now the stories are told and all that remains is for you who will see this play to allow these characters to live in your imagination. Welcome to Ware!" Click here to download the entire "Edge of Peace" education packet. This weekend, the cast received their actor's packet and we talked briefly about the summary of this play, and I provided then with many pages to SCT's study guide, including these paragraphs written by Zeder. Knowing the whole story helps the actors know more about their characters, and how much Zeder loved these characters and their stories, enough to give them a full trilogy. Hopefully watching our production of The Taste of Sunrise will encourage you to read and/or watch the first two plays in the future. Also, you will have more context for our play, so the story will be more powerful for you! I echo Zeder's words, "Welcome to Ware" and enjoy your stay! [caption id="attachment_4319" align="aligncenter" width="489"] "Ware" in ASL. A poster made for Central Square Theater's production of "The Edge of Peace".[/caption]

[caption id="attachment_4333" align="alignnone" width="584"] Twelfth Night Cast[/caption] by Christian Riboldi, dramaturg Welcome back to the 4th Wall! Tonight is opening night for our production! It's going to be such a blast we can't wait for you to come see the show! Make sure to come a few minutes early to make your very own fake mustache that you can wear into the play! As you've seen in our past posts, we've been putting a lot of work into this show behind the scenes. Today, in preparation for you coming to see the show, I'd like for you to get to know the casts just a little bit more. In your program you're going to be able to read a little bit about each cast member. I'm going to include those biographies here. However, there's only so much information you can get out of cast biographies that have to meet a certain standard for BYU productions. Our main theme for this show is to be true to yourself. I would like to help you get to know our cast members and who they really are. Because they are pretty amazing people. In preparation for today's posts I sent around a survey to the cast and asked them to answer the following questions as honestly as they could. It was really fun to see their reactions because sometimes they had to think really hard to narrow down their answers. Here is half of our cast and a little bit about each of them. [caption id="attachment_4332" align="alignright" width="241"] Savanah Smith playing Viola[/caption] Sherry Kopischke - plays Viola From Vancouver, Washington. Senior in theater arts studies with a minor in nonprofit management. Last seen as Liana in the BYU adaption of Princess Academy. Upon her return from the Alpine German-Speaking Mission, she met her husband and they have been happily married since August. What is your favorite line that your character says in the show? My favorite part is the Viola reveal, "that I am Viola!" What is one random fact about you? I love Reese's peanut butter cups. Where is the furthest place you have traveled and why did you go there? Northern Italy; an exchange on my LDS mission. Or Vienna for Mission Zone Conferences. I'm not sure. How many kids are in your family? And where do you fit into the mix? Four and I'm the second oldest. What is your favorite book? Oooohh tough question. I love to read the Chronicles of Narnia, but it's hard to pick a favorite. What is your favorite T.V. show? Scrubs What is your favorite movie? Tangled What is your favorite animal? Ostrich What is your type of favorite food? German food. Bratwurst, Schnitzel, Rotkohl, Raclette...yuummmmm! What was your first theater show and how old were you? In 4th grade my elementary school did a little Disney pageant program, I got to be Sleeping Beauty - my favorite princess at the time. Now I'm a big Rapunzel fan. [caption id="attachment_4325" align="alignright" width="261"] Cameron Bridston playing Feste[/caption] Cameron Birdston - plays Feste Cameron Bridston has been performing from a very young age. He has been playing trombone since he was twelve, and has been singing since even earlier. When he isn't onstage with the young company, he is either writing music, recording music, or performing his over the top original music for any crowd that will hear him. Notable roles include a lamb in a production of The Christmas Story, and the Bill of Rights in his Elementary School performance of The American Revolution Musical. What is your favorite line that your character says in the show? "Latrine" What is one random fact about you? I own 13 pairs of shoes, and I can play the trombone! Where is the furthest place you have traveled and why did you go there? New York. To, well...you know. How many kids are in your family? And where do you fit into the mix? I'm the oldest of three. The "Example" What is your favorite book? George Orwell's 1984 What is your favorite T.V. show? Glee What is your favorite movie? The Prestige What is your favorite animal? Any dog. What is your type of favorite food? Mexican Food. What was your first theater show and how old were you? Revolutionary War the Musical, I was 9 years old. [caption id="attachment_4330" align="alignright" width="250"] Andrew Smith playing Sebastian[/caption] Andrew Smith - plays Sebastian A transfer student from the University of Alaska Anchorage; Andrew is studying theatre education. After receiving certification from the Leadership Education Mentoring Institute Andrew taught after-school Shakespeare classes for several years. His favorite acting credits include himself in the Complete Works of William Shakespeare (Abridged) at Shakespeare: Alaska, Mr. Bingley in Pride and Prejudice at the Alaska Fine Arts Academy, and a troupe member in the 2016 Microburst Theatre Festival at BYU. What is your favorite line that your character says in the show? "I am mad, or else this is a dream. If it be thus to dream still let me sleep." What is one random fact about you? By the time I was ten years old, I had read all the Harry Potter books at least 10 times. I was obsessed. Where is the furthest place you have traveled and why did you go there? I live in Alaska, and the furthest I've been is to Washington D.C., to tour the sites. It's about 4,500 miles from my home. How many kids are in your family? And where do you fit into the mix? I'm the third of ten kids, ranging from 5-25 years old. What is your favorite book? The Giver, by Lois Lowry, and Harry Potter of course. What is your favorite T.V. show? Friends What is your favorite movie? Dead Poet's Society What is your favorite animal? Dolphins What is your type of favorite food? Cheeseburgers...or triple chocolate brownies. What was your first theater show and how old were you? When I was 12, I played the Cheshire cat in Alice in Wonderland. [caption id="attachment_4328" align="alignright" width="264"] Savanah Smith playing Olivia[/caption] Savanah Smith - plays Olivia Savanah is from American Fork, Utah. She is a senior in the BFA acting program here at BYU. Last semester she played Hypatia in Misalliance here at BYU. She loves Shakespeare, and has enjoyed watching this show come to life! What is your favorite line that your character says in the show? "Thy Yellow Stockings!" What is one random fact about you? I love miniature things. Where is the furthest place you have traveled and why did you go there? Australia, visiting my grandparents. How many kids are in your family? And where do you fit into the mix? Two, and I am the oldest. What is your favorite book? Dear John, by Nicholas Sparks What is your favorite T.V. show? New Girl What is your favorite movie? What Dreams May Come What is your favorite animal? Monkey What is your type of favorite food? Mexican What was your first theater show and how old were you? I was 12 and played Little Timoune in One on This Island. Next time join us again to meet the rest of the cast. Notice how different each individual is. It's fun to get to know others and compare the similarities and differences that we share with them. Photos are credited to BYU Young Company production of Twelfth Night. January 19, 2016 Photo by Jaren Wilkey BYU© BYU PHOTO 2016 All Rights Reserved photo@byu.edu (801)422-7322

by Christian Riboldi, dramaturg As we discussed last time, Shakespeare has been changed and adapted over time for a variety of reasons. Sometimes it's in order to be true to Shakespeare, and other times it's purpose is to appeal to a different audience. In our version of Twelfth Night we have set the stage in the Wild West. Sebastian and Viola were separated in tornado and now Viola finds herself in a town called Illyria. But this isn't your regular western Shakespearean town. It's a town where everyone can sing and dance...well almost everyone. As you can imagine, cutting Twelfth Night down from 140 minutes to 50 minutes is a major feat. In order to do so many scenes and a few characters were merged with others in order to simplify and essentialize the plot. In addition to cutting, a few musical numbers are added throughout the script to clarify and connect one scene to another. Our script adapter Rick Curtiss and our director Professor Jones did an amazing job creating the lyrics to accompany these comical musical parodies Every song that is in this show is an original parody of a famous western song and will be sung and accompanied by our talented cast. We have a guitar, trombone, tambourine, ukulele, percussion, and even a cow bell. As an example here are some of the lyrics to a song sung by Sebastian as he enters sung to the tune “I’m So Lonesome, I Could Cry”. I bet you all forgotten me, I’m an unlucky guy, Stuck out in the desert alone, I’m so thirsty I might die. I only had one can of beans, for when the end was nigh, a coyote came and stole the can, I’m so hungry I might die. At night the critters crawl on me, by day the vultures fly, I met a snake, it bit my foot, I’m so poisoned I might die.Hey what is that up on the ridge, Is that a ranch I spy, I hope it has some pretty girls, If not, I just might die. I hope you can imagine how fun this show is going to be now! Here are the links to the other songs that inspired our parodies. We hope to see you at the show so you can hear the rest of our fun songs! Until next time! [embed]https://www.youtube.com/watch?v=-K4BvF_sb3Y[/embed] [embed]https://www.youtube.com/watch?v=qGEubdH8m0s[/embed] [embed]https://www.youtube.com/watch?v=cDm_ZHyYTrg[/embed] [embed]https://www.youtube.com/watch?v=mjdRgBAY278[/embed] [embed]https://www.youtube.com/watch?v=rN2U5wkhRWc[/embed]

by Christian Riboldi, dramaturg Last time we had a brief overview of the play Twelfth Night. Today we'll be talking about a few for the versions of Twelfth Night that are currently out there today. One of the great things about Shakespeare is it's timelessness. These are stories that will be told and retold over and over again, because of how they speak each of us. Over the years Shakespeare has been performed in a multitude of genres. The most well known Shakespearean style is perform it as accurate to Shakespeare's time as possible. The Globe Theater has recently put together one such performance. It's not only accurate in how they dress but in the types of actors they use. In the times of Shakespeare all actors were male. Even the female characters were played by male actors. Here are two very funny clips from Twelfth Night performed at The Globe that show this style of Shakespeare. [embed]https://www.youtube.com/watch?v=AvL6LiJkCJQ[/embed] [embed]https://www.youtube.com/watch?v=RDPT2e26SgY[/embed] Another medium for performing Shakespeare is film. A slightly more realistic take of this story is Kenneth Branagh's version of Twelfth Night. In this version he doesn't try to be true to Shakespeare's times, but he does keep the production stage like. Though it's a film notice that every scene is set up like a stage, with the camera being the audience. If you're interested in watching the whole thing or just poking around the scenes here is the full production. [embed]https://www.youtube.com/watch?v=6i3J17Jp0ag[/embed] Still more movie like is the 1969 version. Where the illusion of the stage is completely dropped, and with some movie magic the same actress plays both Viola and Sebastian. If you pay attention you might recognize the actor for Malvolio from a special film he's famous for. [embed]https://www.youtube.com/watch?v=DuwgQ9Qof88[/embed] Now we get into the movies that drop all sense of the stage and turn Twelfth Night into a full movie. https://www.youtube.com/watch?v=R39jE4SUEF4 These are just a few of the ways that Shakespeare has been performed over time. There are also movies like She's the Man which is based on the plot of Twelfth Night. That movie however removes all of Shakespeare's words altogether and just uses some names and basic plot points to tell it's story. It also changes the time period to a modern high school. Here in the BYU production we are going to be performing the show on stage, but the time period is going to be drastically changed to the Wild West. Even thought the show has been shortened significantly, almost every word we have in the script is part of the original Shakespeare. We hope to see you there. Next time we are going to focus on one of the fun ways that we have made this show into a western musical! See you then!

by Haley Flanders, dramaturg Welcome to the blog for BYU’s upcoming production of The Taste of Sunrise. I am excited to be the dramaturg for this unique and powerful production, written by renown playwright Suzan L. Zeder and directed by Julia Ashworth, head of the BYU Theatre Education program. The show runs March 11-26 in the Margetts Black Box Theater in the Harris Fine Arts Center on campus. A bit about me: I graduated with my MA in theatre from BYU in December and am an elementary school drama specialist. I was the dramaturg for The Fisherman and His Wife in the fall of 2014. The Taste of Sunrise is a very special play, and will probably be unlike any play you have seen before. It centers on the story of a boy named Tuc as he grows up during the years of 1917 and 1928 in a little rural town called Ware, Illinois. The play takes place Tuc's mind and memory, showcasing his experiences as a Deaf boy during the Great Depression. The play features scenes of him losing his hearing as baby, learning to communicate with his father Jonas Tucker and other hearing folk in the town, making friends such as Maizie and Roscoe at the Central Institute for the Deaf in St. Louis, and ultimately trying to find his identity and place to call home. This play is unique because the ENTIRE production is signed and spoken (one actor signs, another speaks), and some of the cast members, namely the actor playing Tuc, are actually Deaf or hard of hearing in real life. In, fact, this is a requirement of the play - the actor who plays Tuc must actually be Deaf. Playwright Zeder states in defense of this requirement: [caption id="attachment_4265" align="alignright" width="174"] Playwright Suzan L. Zeder[/caption] “It is the difference between someone copying choreographed movements and someone dancing in the language of their soul … It sign language is to have dramatic impact it must have meaning; it must be real and specific if it is to have emotional eloquence and physical poetry.” –Author’s Notes to Mother Hicks (pg. 5) New actor, Ben Featherstone, will play the role of Tuc. Look forward to interviews from him and two cast members who are hard of hearing, David Hampton (who plays Dr. Grindly Mann and other characters) and Jason Keeler (who plays Roscoe). Many of the other cast members are fluent in ASL or have taken classes at BYU. Look for upcoming blogs that will highlight the Deaf culture and the power of ASL in performance, and will educate on how to sign certain words or phrases from the show! WHERE DID THE TITLE COME FROM? This play first premiered exactly 20 years ago (1996) at the Seattle Children's Theatre. The title came from a pertinent line in the play which preceded it, entitled Mother Hicks, written in 1986. Tuc feels as if people are only judging him for his disability and not paying attention to all of his abilities. He poetically claims, "You look at me and only see the things I cannot do, thing I cannot be; But I can taste the cool spring water and know what month it is. I can smell the difference between the smoke of hickory and apple wood. I can see the sharp sting of honey, and I can taste the sunrise." What vivid imagery, capturing how powerful the senses are to our understanding of the world around us. As you learn about this play on this blog and attend the show later in March, I implore you to think about your own abilities and limitations, and how this play seeks to empower those with disabilities through the always captivating medium of live theatre. I hope you will return to read more about ASL culture, our progress of putting together this production, the playwright, this remarkable trilogy (yes, this story is actually made up of 3 plays, this being the 2nd installment) and much more! [caption id="attachment_4261" align="aligncenter" width="300"] The cover picture for "The Taste of Sunrise" script, published by Dramatic Publishing.[/caption] Click here to order your tickets to the show. They go on sale February 8. Click here to buy tickets to see the first play in this trilogy, "Mother Hicks" at Utah Valley University!

by Christian Riboldi, dramaturg Welcome back to the 4th wall. The purpose of these blog posts is provide our audiences with inside information about these productions to enhance their experience with the show. This may include information about rehearsals, background research, and even sneak peaks into what the show will look like. As you know, recently we were able to begin our rehearsals for Twelfth Night. This week I'd like to share some little known facts about Shakespeare and his life. I hope that in preparation for Twelfth Night, getting to know Shakespeare a little better will help all of us appreciate his masterful work more. So let's take a moment and get to know the Bard of Avon. William Shakespeare was born in a town called Stratford-upon-Avon on or near April 23rd 1564. William was the third child of eight in his family. His parents most likely couldn’t read or write. William got married at age 18 to Anne Hathaway; they had 8 children with one set of twins. It’s believed that William started his career as an actor, and he acted in many of his own shows. In the time of William Shakespeare, a bard was a poet who shared his poems by reciting them to others. One of Shakespeare’s common titles is "The Great Bard" because he his seen by many as the most influential writer and storyteller in the English language. Shakespeare was a literary genius. In his time, some of the laborers had a vocabulary of 300 words of less. Shakespeare, on the other hand, used 28,829 unique word forms in his works. A wordsmith is an inventor of words. Shakespeare invented over 1700 words that we now use in our everyday language. As a poet and playwright, Shakespeare wrote 154 sonnets and 37 plays. Most of Shakespeare’s writing is poetic. Shakespeare wrote most of his plays in a poetic style called iambic pentameter. Iambic pentameter is a style of writing where every line has exactly 10 syllables, and every other syllable is a little stronger than the one before it. For example, the opening line of Twelfth Night is: “If music be the food of love, play on;” Shakespeare’s sonnets usually rhyme and are all exactly 14 lines longs. A successful businessman, Shakespeare bought expensive property throughout Stratford, and was a co-owner of the Globe Theater. Well there you have it—a few interesting facts about one of the greatest English writers of all time. Next time we'll be talking a little bit more about Twelfth Night and finding out why the show is called that in the first place. Until next time.

by Christian Riboldi, Dramaturg Today is the start of an exciting adventure. We, as the BYU Young Company, our gearing up for our production of Twelfth Night. So far, it's been great to get to know each other and the show that we'll be performing for elementary schools throughout Utah. My name is Christian Riboldi and I'm the dramaturg for the BYU Young Company's production of Twelfth Night. I just over a month from today we will be opening in the Nelke Theater. Unlike other BYU main stage productions, Young Company shows run for just over two months straight! During the first two weeks of the play we will hold 9 performances at BYU for the general audience, after which we will begin to travel twice a week to different schools throughout Utah. We are excited to introduce the world of Shakespeare to these children, and we hope to bring you a smile and many laughs. One of the reasons we are so excited to bring this show to life is because of its unique and fun adaptation. As you can imagine, it's quite the task to take a three hour work of Shakespeare and whittle it down to an understandable 45 minute show, while maintaining its integrity. And that's just what we've done. In the coming weeks we are going to be discovering how these timeless characters behave themselves in the dry, hot, wild west. Understandably, boots, belt buckles and hair buns will give this show a flavor and feeling you will remember for many years to come. It's going to be wild and woolly, and we couldn't be more excited to begin this adventure with you. For more updates on our progress, you can subscribe to our 4th wall newsletter or check back here every week before the show. We hope to see you soon.

by Kasey Kopp, dramaturg After being heaped with accolades and praise from critics and patrons, BYU's production of Disney's Beauty and the Beast ended its completely sold out run on December 10th. During the post show discussion that followed the performance, cast members and creative team members reflected on the experience of participating in the production and the way that it had shaped and influenced their life for the better. It proved to be a very emotional and bittersweet night for all involved. Although there was initially some uncertainty as to how the production would look and feel, many feeling that the production concept would not translate to the stage, these fears appear unsubstantial in retrospect. As one cast member explained, "Generally, Disney's Beauty and the Beast is much like a gilded rose...the story is beautiful, but it is steeped in so much spectacle that it somewhat loses its magic and charm. The effects and spectacle become the main storytelling device. Our production attempted to strip away the gold and look at the beautiful rose that is the story of Belle and the Beast." In visually depicting the musical in a new way, audiences members were more attuned to the story of Beauty and the Beast and, as one audience member explained, "fell in love with this story in a new and exciting way." As I reflect on the experience of working on this production, my heart is full of gratitude and joy; it is very bittersweet. Although also initially wary of my favorite musical receiving a new interpretation, I have come to experience firsthand the message of this beautiful story. Working on the show as a crew member and watching the show each night, I would tear up during the titular ballad when Mrs. Potts sings, "Bittersweet and strange, finding you can change, learning you were wrong." For me, this is the power of this piece--it reminds us that we have the capacity to change and that as we look beyond the exterior and give those around us a second chance, we can find the beauty within. While I thought I understood this prior to working on this piece, this was the biggest takeaway for me from this production. To conclude, I have included some of my favorite production photos of this beautiful "tale as old as time." I hope you enjoy them! [caption id="attachment_4218" align="aligncenter" width="300"] Beauty and the Beast at BYU[/caption]

by Kasey Kopp, dramaturg As we've explored, Belle and Beast's love story is known (in some capacity) across the globe--whether that be the well-known Disney musical or a legend or formative story. This week I sat down to learn about the backstory of the power couple who brought this well known romance to the BYU stage and some of the rewards and challenges of performing together. [caption id="attachment_4197" align="alignleft" width="254"] Johnny and Twyla Wilson as Beast and Belle, respectively.[/caption] Johnny and Twyla Wilson were married in 2013 and have loved performing together in this well-known and beloved musical, bringing to life the characters of Belle and Beast. This is not their first time playing opposite one another. They have appeared together in the Frank Wildhorn musical, Bonnie and Clyde, and recently starred as Mary Poppins and Bert in Disney's Mary Poppins. When asked about her reaction to receiving the role of Belle, Twyla said that she was "terrified." She explained that Belle is such an iconic and much-beloved Disney princess and she worried about her performance of the heroine. She said that she was so grateful that "George (Nelson, director) allowed me to bring so much of myself to the character. I get to bring a lot of Twyla to Belle each night and it's so wonderful and rewarding when I'm told they like my interpretation of Belle because there is so much of me in her." Although at times difficult to not break character, the Wilson's are completely professional in their performances and remain grounded, really taking in the unique and special experience of playing opposite each other on the BYU stage. When asked about playing opposite his wife and what that experience is like, Johnny said, "The love in a show with any couple is always the foundation of the character’s interactions and so people who aren’t already in love have to build that...since we already bring that, it makes building characters who have that relationship a lot easier because we’ve already got the first task of the job done.” Even after the production closed on December 10th, the Wilson's happily ever after continues on.

by Kelsee Jackson, dramaturg It's easy to fall in love with the Edwardian time period. It has fascinated scholars, authors, playwrights, and screenwriters for years. The clothes, the mannerisms, the parties, and the people are intriguing and fashionable. It makes the perfect backdrop for dramatic and comedic stories alike. But if Misalliance closes tomorrow, how will you get your Edwardian fix? If you, like many others, simply can't get enough of the Edwardian lifestyle, here are some stories you might fancy. The Hound of the Baskervilles by Sir Arthur Conan Doyle Published in 1902, this novel follows the adventures of Sherlock Holmes and his trusty companion Dr. Watson as they try to solve the mystery of an attempted murder and a fearsome, supernatural beast. This novel still ranks as one of the UK's most beloved stories, and many films and TV shows have been made about Sherlock's many adventures. Peter Pan by J.M. Barrie Peter Pan was first published as part of a novel called The Little White Bird in 1902. J.M. Barrie expanded it and published it as a play in 1904. The play captured the imaginations of grown-ups and children alike, emphasizing the magic of childhood years. While most of this story takes place in the enchanted world of Neverland, hints Edwardian lifestyle can be seen in scenes at home, with Wendy, Michael and John's parents. A Little Princess by Frances Hodgson Burnett A beloved story about a little girl who is suddenly orphaned and left in a desolate condition. She makes friends and learns how to enhance the situation she is put in through kindness and love. First published in 1905, A Little Princess and The Secret Garden, Burnett's most beloved books, have lasted throughout the century in the hearts of children and grown-ups alike. Pygmalion by George Bernard Shaw Perhaps one of George Bernard Shaw's most well-known plays, it follows the story of a flower sellswoman Eliza Doolittle and Professor Higgins and he tries to turn her into a proper lady. While this process became more complicated than Higgins could have imagined, he certainly never expected to fall in love with her! The first production of Pygmalion premiered in Vienna in 1913 and soon moved to London and New York. Years later, this smashing success was made into a beloved musical, My Fair Lady. These few Edwardian gems are filled with humor, drama, and style and we hope you enjoy them! With the closing of Misalliance, we want to thank you for seeing and supporting the show. What a fun run it has been! Don't forget to get your tickets to other fantastic BYU productions by going to arts.byu.edu.

by Kelsee Jackson, dramaturg [caption id="attachment_4129" align="aligncenter" width="499"] The stone cross on Gibbet Hill, Hindhead, Surrey, England; Photo Credit: Charlesdrakew via Wikimedia Commons.[/caption] If you travel to England, should you make a stop in Hindhead? Of course, it is up to you. If you are needing a bit of fresh air and a break from the city, it might interest you to know that Hindhead has a nickname, "Little Switzerland." George Bernard Shaw wasn't the only famous person to enjoy the fresh air and scenery of "Little Switzerland," Sir Arthur Conan Doyle was another notable resident. Some even claim that he wrote The Hounds of Baskerville after walking the Devil's Punchbowl. What else makes this town notable? The people, or at least all of the ones we talked to, were genuinely kind and helpful. They talked highly about the beauty that surrounded them and were open to giving all kinds of pointers and tips. We even ran into local residents who go for daily runs on the many trails, or walk on the paths when they need some fresh air. There was a great sense of pride in this little town, and it was rather refreshing. Since going to Hindhead, I've wondered if Shaw had any particular connection there. He did live there at a certain point and it obviously impacted his life, at least enough for him to make the setting of what would become one of his most well-known plays in Hindhead. I've wondered especially if the Tarletons, or perhaps the Summerhays or Julius Baker were characters that had some basis in real people from this small town. Who knows? What a great place to visit for nature-lovers and Misalliance fans alike! [caption id="attachment_4131" align="aligncenter" width="445"] Purple Flowers in Hindhead, June 2015, Photo credit to author[/caption] References Brief Hindhead history, http://beaconhillhindhead.org/history/, accessed 11 November 2015.

by Kelsee Jackson, dramaturg Hindhead is well-known for it's beautiful scenery. This beautiful scenery is often referenced in Misalliance, with lines like, "Shall we stroll over to the Gibbet?" or "...take a walk through the heather and admire the scenery of Hindhead." While visiting Hindhead this past spring, a friend and I decided to try one of the more basic hikes to admire the scenery and get a glimpse of the beauty of Hindhead. Hindhead is home to a large, natural amphitheater called the Devil's Punch Bowl. The Devil's Punch Bowl is an area protected by England's National Trust. This beautiful location is next to Hindhead and has many well-traveled hikes and nature walks for visitors and locals to explore. [caption id="attachment_4096" align="aligncenter" width="433"] Devil's Punch Bowl, Hindhead, Surrey, England- Photo credit to author[/caption] One of the first things we came across was the Sailor's Stone. Like all good English towns, there was a local story attached to this sailor's stone. In this story, an anonymous seaman was murdered in Hindhead in 1786. His body was laid to rest at the Thursley churchyard and this sailor's stone (in remembrance of the sailor, not his gravestone) was place on Gibbet Hill, where the men who committed the crime were hung. The front of the stone reads: ERECTED In detestation of a barbarous Murder Committed here on an unknown Sailor On Sep, 24th 1786 By Edwd. Lonegon, Mich. Casey & Jas. Marshall Who were all taken the same day And hung in Chains near this place Whoso sheddeth Man's Blood by Man shall his Blood be shed. Gen Chap 9 Ver 6 Near the head of the hike, there was a beautiful lookout point. This was perhaps my favorite part-- being able to see all the beauty of Hindhead and surrounding areas from the top of a large hill. The day we went was quite overcast and chilly, making the land around us look even lusher and greener than normal. This began our decent back down and the discovery of beautiful long-horned cattle grazing in the greenery near the exit of the hike. [caption id="attachment_4098" align="aligncenter" width="477"] Long-Horned Cattle, Hindhead, Surrey-- Photo credit to author[/caption] The walks that the Tarletons talk about frequently in this play would have been taken through the beauty of Hindhead. These places and more would have been familiar to them. It is quite the lovely setting for a play such as this!

by Kasey Kopp, dramaturg This week I sat down with George Nelson, the director of Disney's Beauty and the Beast, to learn a little bit more about his vision for this production and what audience members can expect from this unique production. Professor Nelson is the head of the play writing program at Brigham Young and has directed many plays and musicals during his time at the university. His credits include Thoroughly Modern Millie, You're A Good Man Charlie Brown, The Music Man, and recently, White Christmas. He is an award-winning author, director, playwright, and professor. His new musical Single Wide received critical acclaim during it's off-Broadway premiere during the New York Musical Theater Festival earlier this year. Professor Nelson's concept for this production is centered on telling the story of Belle and Beast - looking on the heart to see the beauty within. To accomplish this, storytelling will be integral to this production. As the show opens, a troupe of performers enters the space and discovers what appears to be an abandoned theater. They discover a storybook - the story of Beauty and the Beast - and proceed to assign roles and tell the story using the costumes and props the find onstage. Stripping the production down from its traditional extravagance, Nelson hopes that audience will connect with the story in new ways. This does not mean that magic will be lacking in this production. Quite the contrary, in fact. (Check back to learn more about this in upcoming weeks!) In an interview with Nelson, he expressed what he hopes audience members will take away from the production: "I hope audience members will love the story as much as we [production and cast members] do...and have the opportunity to learn and reflect on eternal principles that are found within this seemingly simple fairy tale." Nelson said that the most rewarding aspect of directing this musical has been "the fantastic cast and production team that have bought into the vision and brought it to life so well." It hasn't been easy convincing everyone that staging the production in a new way has merit - many have expressed uncertainty at the prospect. This has been the most challenging part, according to Nelson. He remarked, "I believe it is our job as artists and theater practitioners to look in a new way, to present a new perspective for our audiences and help them reconsider what they thought they knew." Learn more about how Nelson's vision is being integrated into the stunning costumes, choreography, and more in the upcoming weeks! And if you haven't got your tickets, do so quickly! Some shows are already sold out!

by Kasey Kopp, dramaturg As we observed last week, the story of Beauty and her Beast has been around for centuries. This week, we will chart the progression of the story from a simple French fairy tale published in the 18th century, to a full fledged movie musical blockbuster and Broadway musical. The following is a timeline that tracks significant adaptations of this tale as old as time and events that have lead up to the creation of this historic piece of film and musical theater. [caption id="attachment_4060" align="alignright" width="224"] Painting of Jeanne Marie Leprince de Beaumont[/caption] 1756: Beaumont publishes her version of the tale in France. 1938: Walt Disney releases its first full length animated feature, Snow White and the Seven Dwarfs. 1946: Jean Cocetau's film, La belle et la bete, is released. It is the most successful and well known film incarnation prior to the release of the animated Disney film in 1991. It introduced a handsome suitor for Belle, who she rejects as rude and conceited. It also included human arms that supported candelabras in the opulent castle! [caption id="attachment_4061" align="aligncenter" width="588"] A still image from Cocteau's La Belle et la Bête was made in 1946, starring Jean Marais as the Beast and Josette Day as the Beaut.[/caption] [caption id="attachment_4062" align="alignright" width="181"] Promotional poster for the second season of Beauty and the Beast[/caption] 1987: Beauty and the Beast, a television series adapted from the tale, is broadcast from 1987 to 1989. The story centered around the relationship between Catherine, an attorney living in New York City, and Vincent, a "beast" with a lion-like face, who dwells in the tunnels under the city. After two seasons, the series was cancelled when ratings fell after the actress playing Catherine left the show. 1989: The success of Disney’s The Little Mermaid, a cartoon musical based on the Hans Christian Andersen story, heralds a period known as the “Disney Renaissance.” Executives turn to adapt Beaumont’s 18th century French fairy tale. It is revealed that Walt wanted to animate the piece back in the 1950’s but the animators and storytellers felt the piece too challenging to adapt and shelved the project. 1989-1991: Production of Beauty and the Beast is completed during a “compressed timeline” over a period of two years rather than the traditional four-year “Disney Feature Animation production schedule.” This reduced time frame is due to loss of production time spent developing an earlier, non musical version of the film. September 1991: Although still not complete, the film is screened at the New York Film Festival and received a standing ovation at its conclusion. [caption id="attachment_4064" align="alignright" width="211"] A poster from the 1991 release of the film.[/caption] November 1991: Disney’s Beauty and the Beast is released to widespread critical acclaim. It is the first animated film to earn more than $100 million at the box office; it eventually grosses over $425 million worldwide.

by Kasey Kopp, dramaturg In order to more fully appreciate the legacy and scope of Disney’s Beauty and the Beast, it is important to realize that this story existed long before Disney set it to music. This week we reflect on this tale as old as time and learn more about the original fairy tale, upon which the musical is based. [caption id="attachment_4035" align="alignright" width="241"] Anne Anderson -“Beauty and the Beast” -1911 (Public Domain)[/caption] While it is difficult to trace its origins, we see roots of the story in the ancient Greek myth of Cupid and Psyche. We also see incarnations of the tale in the early civilizations of India and Africa. The story was first codified and published in France in 1740 by Madame Gabrielle-Suzanne de Villeneuve. This tale, however, contained many complicated subplots and a lot of information about the early lives of both Belle and the Prince. We learn, for example, that Belle’s mother was a fairy and that she is a child of both worlds. In 1756, French author Jeanne-Marie Leprince de Beaumont published her far more simplified version of the tale under the title La Belle et la Bête. Following is a brief retelling of her story. A link at the end of the post will direct you to a more detailed account of the story. Is it exactly as you remember? [caption id="attachment_4036" align="alignright" width="235"] Eleanor Vere Boyle-“Beauty and the Beast”- 1875 (Public Domain)[/caption] Once upon a time in a land far away, a wealthy merchant lived with his three daughters. Forced to depart on a business trip, he promised his two eldest daughters lavish gifts upon his return. His youngest daughter, the kindest and most beautiful of the three, named Beauty, asked for a single rose. On the return trip, the merchant became lost in the woods and stumbled upon a magical castle where he sought shelter from the elements. As he prepared to leave the next morning, he stumbled upon a beautiful rose growing in the gardens. Upon plucking it, a terrifying beast emerged and explained that he the merchant must now die for his action. The merchant explained that it was for his youngest daughter. The Beast agreed to allow the merchant to return to his home and deliver the gift, but he must return and remain the Beast’s prison forever. [caption id="attachment_4037" align="alignright" width="239"] Walter Crane- “Illustration of Beauty and the Beast”-1874 (Public Domain)[/caption] Upon returning and delivering the gift, the merchant refused to explain, but prepared to depart again, back to Beast’s castle. Beauty discovered the reason and insisted that she go in her father’s place. Arriving at Beast's enchanted castle, he receives her and informs her that he is her servant. He gives her lavish clothing and treats her like a queen. Every night at dinner, the Beast asks Beauty to marry him, but she refuses. After each refusal, Beauty dreams of a handsome prince who pleads with her to answer why she keeps refusing him, to which she replies that she cannot marry the Beast. After several months, Beauty becomes homesick and begs the Beast to allow her to visit her family. He agrees on the condition that she returns exactly a week later. Her sisters are envious of her happy life at the castle and beg her to stay another day longer. They hope that the Beast will be angry with Beauty for breaking her promise and eat her alive. Beauty's heart is moved by her sisters' false show of love, and she agrees to stay. She begins to feel guilty and (using the enchanted mirror) discovers that the Beast is lying half-dead from heartbreak. Beauty returns and weeps over the Beast, saying that she loves him. When her tears strike him, the Beast is transformed into the handsome prince. The Prince informs her that long ago a fairy turned him into a hideous beast after he refused to let her in from the rain, and that only by finding true love, despite his ugliness, could the curse be broken. He and Beauty are married and they live happily ever after. [caption id="attachment_4039" align="aligncenter" width="367"] Warwick Goble -“Beauty and the Beast”- 1913[/caption] While Beaumont’s version remains the most-well known of the primitive tales, the adaptations don’t stop there—numerous variations of the story exist throughout Europe. Next week we will explore a timeline of events, tracing the history of the various adaptations that have spanned the centuries. Stay tuned! To read Beaumont’s full story, click on the following link: http://www.surlalunefairytales.com/beautybeast/stories/beaumont.html (As a side note, tickets went sale to the public Monday, October 19th! You can get tickets at the following site: http://arts.byu.edu/event/disneys-beauty-and-the-beast/ This beloved musical is sure to sell out quickly, so get tickets while you can!)