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by Kasey Kopp, dramaturg As we move towards opening night, many elements of the production are taking shape and coming together splendidly. One of the fantastic elements of this production of A Midsummer Night’s Dream is the beautiful costuming that has been done by Deanne DeWitt and her assistant Shannon McCurdy. This week, I had the opportunity to sit down with Deanne for a few minutes and learn about her process in creating and designing the lavish costumes for people and puppets in this production. Deanne talked to me about her inspiration and research and showed me the progress on the costumes thus far during a mini tour of the costume shop. At the very beginning of her process, Deanne met with the director, Nat Reed, to understand his vision and learn how she could incorporate that into the ideas that she already had. In developing his concept, Nat was strongly influenced by the highly stylized and artistic elements of the 2011 film Hugo. In keeping with this concept, Deanne strove to incorporate elements of this film in her design. https://www.youtube.com/watch?v=5Y6OoN1FR6Y The costumes of the Mechanicals (roles taken on by puppets in this production!) are heavily influenced by the turn of the century clothes worn by the main characters in Hugo. In a similar vein, many of the fairies are inspired by the fantastic costumes worn by the actor’s in the early silent films that are depicted in Hugo. In addition to the film, Deanne said that she was also heavily influenced by the concept of butterflies and the idea of flight. Many of the characters have elements of flight woven into their costumes! Deanne was also kind enough to share the renderings of the costumes for the principal players. We look forward to seeing the final product on the actors when the show opens in a couple of weeks. Following is some of the renderings for the costumes and Deanne’s commentary on them! Enjoy! These are costumes for Hippolyta and Theseus, who will be played by children from the audience. These are the renderings for the puppets! Deanne said this was her first experience designing costumes for puppets! She indicated that many of the costumes were toddler clothes that were purchased and later added to and altered. The influence of the film Hugo is definitely felt in these costumes; many of the characters in the film dress in patterns we see represented here--checks, stripes, argyle, etc. While still striving to convey that magical and fairy-like quality, Deanne sought to create a masculine look for Oberon. Deanne said she was inspired by the masculine warrior character in the cartoon film Epic. There are many jewels and sequins that add to the fantastical element of the costume and the greens and blues that are found in Titania's costume are also reflected in Oberon's. Puck's costume is also bedazzled and fantastical, with a cape of black feathers to complete the look. As previously mentioned, Deanne's inspiration for this costume came largely from butterflies. Titania's costume is frilly and fantastical and (fun fact!) created from recycled prom dresses. It mirrors and compliments Oberon's ensemble with bounteous jewels, sequins and feathers.

By: Eric Stroud Hello faithful followers! Welcome back. I do hope that each of you had a wonderful holiday, full of magic, fattening foods and family. Kasey and I are so excited to be jumping back into our posts for A Midsummer Night's Dream and hope that each of you will find them wonderfully entertaining and insightful. As promised, here is part two of the puppet insight to this play, an interview with the director Nat Reed. (Read Part 1 here!) This is Nat Reed. He has worked with puppets for over 15 years and they have become an integral part of his life. In honing his skills throughout the years, Nat designed for many big named organizations such as Mattel Inc., Jim Henson's Creature Shop, Mortal Fools Theatre Productions of Frankenstein and the Glass Menagerie and the Mormon Tabernacle Choir. Nat is currently the Technical Director at the SCERA center for the Arts and an instructor at BYU in puppetry and set construction. He was awarded an Emma Louise Warfield Memorial Scholarship to the National Puppetry Festival and is the festival director for the Puppetry Arts Guild of Utah. And as busy as Nat is, he agreed to answer a few of my questions! Eric Stroud: Why Midsummers and Why Puppets?

By: Eric Stroud, dramaturg Hello you wonderful followers you! I am pleased to have this opportunity to write to you for the first time and most especially, to let you in on some unique aspects of our play! As Kasey mentioned a couple posts back, A Midsummer Night’s Dream was written by William Shakespeare. It has been done countless times and in countless ways. So, when our director, Nat Reed agreed to direct the play, he was determined to make it special. Now, some of you reading this know A Midsummer Night’s Dream quite well, so some of the unique choices I am going to discuss will be even more surprising for you. However, for those of you, who don’t know the play; allow me to provide you with some insight. Parts of the original play surround the experience of some Mechanicals, or a group of men who perform plays for a living. However, as these men gather within the enchanted woods outside of Athens for their rehearsals, some things go astray. Within the original play, the focus on these Mechanicals is eclipsed by the more relatable story of the mixed up lovers. However, for this TYA production of A Midsummer Night’s Dream, Nat Reed has decided to give these frequently overlooked characters a wonderful new voice. This voice is obtained through Nat’s changing the Mechanicals to puppets; each hand made by Nat Reed himself and each distinct. The puppeteers will operate these puppets as if they were a part of their body, ensuring that each movement made is realistic and calculated. Now as new as puppets might be to the A Midsummer Night’s Dream setting, puppetry in theatre is nothing new. In fact, puppetry in theatre is believed to have originated almost 3000 years ago, in the days of ancient cultures. However, it has only been in Western culture since the 13th century. Since then, it has evolved and reformed in countless ways, creating its own sub genre. We are excited to have these wonderful creations in our cast! To get you excited about the usage of puppets in this production, enjoy the pictures below; each illustrating some of the greatest theatre performed today with the inclusion of puppetry. One of the London Stage's newest puppetry phenomena, Warhorse has expanded the world of puppetry. This is a wonderful puppet from BYU's very own TYA production of The Selfish Giant. Look at those puppeteering skills! Though a little on the racy side, Avenue Q was one of the first Broadway musicals patterned after the idea of Sesame Street. A very adult Sesame Street. Puppets can be quite large; and the dragon puppet from Shrek the Musical, performed at the Cadillac Theatre is no exception. King Kong on Broadway anyone? Imagine the amount of puppeteers this guy requires. Now here's one we all know in love. Zazu, from Disney's Broadway production of The Lion King. If you look close, you can see the trigger in puppeteer Jeff Binder's left hand. It opens and closes Zazu's mouth when he speaks. Though these blog posts will be on hiatus during Christmas Break, be sure to check back in January for PART TWO of Puppets! Puppets! Puppets! In this blog post I will show the interview I had with the director of this production, Nat Reed, who will gives insight on his inspiration for using puppetry and where his love for it originates. See you soon!

by Holly Mancuso, dramaturg As part of director Tim Threlfall's concept for The Count of Monte Cristo, this show features a mix of contemporary and more traditional elements. It has many aspects that fit in with the time periods depicted (1810s-1830s), but everything is stylized and modernized. This melding of modern and historical required collaboration between designers to find areas where the various styles can emerge. In this production, the costumes tend to show a more traditional look, while lighting, hair, make-up, choreography, and set design contribute to the stylized aesthetic of our show. Our costume designer Lara Beene has researched costume and dress of the the 1810s and the 1830s in France and Italy. Using these as guides, she elaborated and embellished in her designs to add to the lavish and rich nature of the costumes. This show uses hundreds of costume pieces for the 36 cast members, and all have been carefully designed or selected to fit into the overall feel of the show. Here we feature some of the original drawings (renderings) used for the costumes. [caption id="attachment_3260" align="aligncenter" width="286"] The Count of Monte Cristo[/caption] [caption id="attachment_3263" align="aligncenter" width="329"] Jacopo[/caption] [caption id="attachment_3264" align="aligncenter" width="333"] Mercedes' first costume[/caption] [caption id="attachment_3265" align="aligncenter" width="519"] Three pirate costumes[/caption] [caption id="attachment_3261" align="aligncenter" width="495"] Three ball gowns, featuring swatches of the fabric used in the dresses[/caption] [caption id="attachment_3262" align="aligncenter" width="332"] A rough rendering of a ball gown costume, featuring edits and updates[/caption] Actors have frequent fittings in the costume shop to ensure that all the outfits fit well, look good, and allow movement. Since there is so much dancing and action throughout the play, costumes need to be flexible and not too restrictive. The talented people in the shop spend hours making sure each piece is just right, helping to create a visually appealing production.

By Holly Mancuso, Dramaturg [caption id="attachment_3206" align="alignright" width="243"] Jack Murphy with The Count of Monte Cristo director Tim Threlfall[/caption] Last week we had the amazing opportunity to host Jack Murphy, the writer and lyricist for The Count of Monte Cristo. Jack has a long and illustrious career in music and theatre, including credits as a playwright, lyricist, and writer. He and Frank Wildhorn have worked together for more than twenty years, most notably on The Civil War, which received a Tony Award nomination for Best Score in 2009, and for Rudolf, which has had several successful international runs. In 2007, Jack and Frank were commissioned to write a musical about The Count of Monte Cristo for the Theater St. Gallen in St. Gallen, Switzerland. The show was written in only six weeks, and then premiered in 2009 at the Theater St. Gallen. On this, his first trip to Utah, Jack stayed from Tuesday to Sunday. During that time, he saw two full run-throughs of BYU's production of The Count of Monte Cristo, and spent time in rehearsal with the cast. After seeing the full show on Tuesday, Jack commented on how impressed he was with the actors' performances, as well as how prepared and memorized they were. By Thursday, Jack had written new lyrics for one song, rewritten vocal parts for another, and added additional dialogue to several scenes. The cast quickly got to work learning the new material and implementing the changes. They were excited about the chance to work with the writer and hear more about his vision for the show. There was a very strong collaborative atmosphere as Jack talked openly with director Tim Threlfall and musical director Gayle Lockwood about timing, lyrics, musical key changes, and characterizations. [caption id="attachment_3213" align="aligncenter" width="467"] Actors rehearse and rework a scene with new lyrics written while Jack Murphy was visiting Utah.[/caption] It was a great experience to have Jack here! His love for theatre and his talent for writing were very evident, and we as a cast are excited to implement whatever changes he may make to the show!

By Holly Mancuso, dramaturg This week I wanted to respond to a few of the comments and questions I've been getting about this project. I'm very excited to be a part of The Count of Monte Cristo, since it's a powerful story with thought-provoking themes. And it's invigorating to see that others are excited for it as well! I love that story! What will it be about? [caption id="attachment_3189" align="alignright" width="215"] The 2002 film contributed to the present interest in The Count of Monte Cristo[/caption] Good! Alexandre Dumas' novel is a favorite of many for its fascinating plot, detailed and intricate plans, images of adventure and intrigue, and identifiable themes of love, betrayal, trust, and hope. Various stage and screen adaptations, including the popular 2002 film, have modified and adapted the 1,200 page novel in order to make it more manageable and succinct to retell. Nevertheless, the essence of the story, complete with the ideas of love, vengeance, justice, and happiness, is very prominent in this production. Are you in it? No, I'm the dramaturg. [Pause] That means I help with researching historical elements, preserving continuity, helping to make plot and action flow smoothly, and being aware of the director's concept as well as audience perception and understanding. One of my favorite parts of being a dramaturg is the chance to look at places in a show that could draw an audience member out of the performance, and then support the director in finding ways to make those moments clearer and more precise. This for me adds to the polished feel of a show, making it more believable and helping an audience connect emotionally. For a detailed explanation of this aspect of theatre, visit the "What Is Dramaturgy?" section of this website. I didn't know there was a musical! Is it new? There is! The BYU production will be the American premiere of the musical by Frank Wildhorn and Jack Murphy, but the show premiered in 2009 in Switzerland, at the Theater St. Gallen, to much acclaim. It has since gained significant notoriety and popularity overseas, thanks to productions in Switzerland, Korea, and Japan. However, it is still a relatively new work, and continues to receive edits and updates from the writers, even during our rehearsal process. What are the differences between the book, the movie, and the musical? As stated previously, the book by Alexandre Dumas consists of (depending on the edition) about 1,200 pages and 117 chapters. That's a bit much to put on stage or screen, so characters have been eliminated or combined in order to streamline the story. Fewer details are given regarding many events, and visible action replaces spoken exposition, helping to condense production time. Additionally, some plot points have been changed. To know more details, you'll have to come and see for yourself! When will it be playing? I want to come! Of course you do! The Count of Monte Cristo is performing January 22-24 and January 27-31, 2015, at BYU's de Jong Concert Hall in the Harris Fine Arts Center.

by Abram Yarbro, dramaturg See How They Run opened on Friday, November 7. Before one of our final rehearsals, I sat down with each member of the cast and asked them to introduce themselves, talk about their character, the show, and if they had any fun bloopers they wanted to share. You can read part 1 of the "Meet the Cast" series here. Interview with Ann Lopez Abram Yarbro: Tell me about yourself. [caption id="attachment_3149" align="alignright" width="300"] Ann Lopez plays Miss Skillon[/caption] Ann Lopez: I'm from Harriman, Utah. I just got back from my mission in El Salvador, Santa Ana mission. I'm a pre- acting major and this is my second year at BYU. AY: Tell me about Miss Skillon. AL: She is crazy! She is really interesting. She is not afraid to tell people what is wrong or correct people. She has a good moral code. She knows what is good and what is bad and she lets people know. A lot of time that is overbearing for other people but deep down she thinks she is doing what is actually good. That has left her incredibly alone and that has made her loved starved. She gets really drunk and that is really fun to play in the show- the first time she gets drunk in her life. AY: What is your favorite part of the show? AL: I love farces. The energy is what is what I love about the show in general and making people laugh. I think when you're doing a show, a comedy, people laugh and actors get the energy. That drives everything forward and I love that feeling. Specifically, my favorite part is the beginning of act two when I'm drunk. That is my favorite part to be in. Interview with Soren Barker Abram Yarbro: Tell me about yourself. [caption id="attachment_3150" align="alignright" width="200"] Soren Barker plays The Reverend, Lionel Toop[/caption] Soren Barker: I am NOT an acting major- go figure. I'm a humanities major with an emphasis in theatre and I have another year before I graduate. I'm married to my wife Emily, she is a theatre teacher- that is how we met. I transferred form BYU Idaho, I did two years up there before moving down here. I'm really grateful to be in shows here because it is hard to be the new kid on the block. AY: Tell me about the Reverend Lionel Toop SB: Lionel Toop is a vicar in his 30s, recently married, under a year. He is trying to do what is right in the sight of his parishioners but it's awfully tricky when he has a wife that is... what is the right phrase... she may be a trifle more broad minded than the rest of the community. He doesn't expect any of this to happen to him and he is just trying to live a normal, quite life and suddenly get hit over the heard by a situation he can't control. AY: What is your favorite part of the show? SB: I like so many parts of the show. Act two is really where some of the fun, craziness happens. Act three is all out nuts, but act two is when some things start happening to Lionel and he gets more and more disheveled. That is a real treat for me, I love the physical comedy. AY: Do you have any bloopers you want to share? SB: My favorite blooper happened at the very end when things are finally wrapping up in the story and come to a resting point. There is one little problem that arises at the very end and someone missed their cue so the problem never got brought up. We just sort of improved and said, "Okay, I guess the show is over... yay!" Interview with Michael Abbott Abram Yarbro: Tell me about yourself. [caption id="attachment_3151" align="alignright" width="225"] Michael Abbott plays Sergeant Towers[/caption] Michael Abbott: I'm grew up in Oregon, I've been living here in Utah since I started school. I've been at BYU three or four years and I'm currently a Biology Major. AY: Tell me about Sergeant Towers. MA: Sergeant Towers is a cockney. He always feels this need to assert himself, he needs to show that he is in charge. He is used to giving out order and used to having them followed. He is a Sergeant Major, pretty high up in the command, so he is used to people jumping when he says. He is not really used to this situation outside of military life and not used to civilians not giving him direct answers. With the confusing nature of the play, that really bothers him- he just can't seem to get a straight answer. AY: What is your favorite part of the show? MB: I love all my interactions with Humphrey. Jordan does awesome as Humphrey and I love watching him. I kinda wish I could watch the whole play from the audience but I don't get to do that. AY: Do you have any bloopers you want to share? MB: There is a part where I”m supposed to say, “Well you don't make me laugh,” but I started to laugh right after saying that and I ended up laughing while I was saying the line. Another time, Rodger is deaf in his right ear and I'm partially deaf in my left ear, and because of the way we were oriented backstage we couldn't hear our cues so we had to switch positions backstage so that we could listen with our good ears.

By Holly Mancuso, dramaturg Adventure. Intrigue. Love. Betrayal. Hope. Vengeance. Singing. Dancing. Fighting. Pirates. Spectacle. All this and more are in store for BYU’s American premiere production of The Count of Monte Cristo, a new musical by Frank Wildhorn and Jack Murphy. It is based on Alexandre Dumas’ classic French literary masterpiece and the most recent film adaptation, which came out in 2002. The Count of Monte Cristo was published originally in eighteen volumes in a French newspaper from 1844 to 1846. It tells the story of Edmond Dantes, a young merchant sailor who is wrongfully accused and imprisoned as a result of the plots of conniving men. The story, which takes place during a period of over 20 years, features Edmond’s unceasing desire for calculated revenge on his betrayers. And yet The Count of Monte Cristo is also a tale of forgiveness and moving on past the tragedies of life. There is hope and joy to be found if we let it into our lives. [caption id="attachment_3124" align="alignright" width="203"] A drawing of Edmond Dantes from an 1888 edition of the novel.[/caption] Over the next few weeks, we will explore the origins and context of this story, the circumstances surrounding our production, comparisons between the book, the movie, and the musical, and learn more about developing new work. Additionally, we will go behind the scenes and study the costumes, hair and make-up, lighting and projections, choreography, and actors who will make this grandiose show a success. I hope you join me for the whole journey!

by Abram Yarbro, dramaturg It's a week until opening night and last night's rehearsal was the first on set in the Margetts Arena Theatre. The designers, set shop, and builders have worked tirelessly to whip the performance space into shape and we couldn't be more excited (to see an interview with a set designer, click here). See How They Run will be performed in the Harris Fine Arts Center on BYU campus. This year celebrates the 50th anniversary of the HFAC; built in 1965 by architect William Periera and named after BYU's 5th President (read the HFAC's Dedication News Release from 1965 here). It houses the College of Fine Arts and Communication's School of Music, Department of Theatre and Media Arts, and Department of Visual Arts. It has 281 rooms, 5 performance spaces, 2 galleries, and over 280,000 square feet. [caption id="" align="aligncenter" width="411"] The Harris Fine Arts Center on BYU Campus[/caption] [caption id="" align="alignright" width="115"] Philip N. Margett[/caption] Our particular production will be presented on the first floor of the Fine Arts Center in the Philip N. Margetts Arena Theatre. The Margetts Theatre is named in honor of Philip N. Margetts, an early LDS pioneer and prominent actor. He was born in 1829 in Kineton, England and moved to The Salt Lake Valley in 1850. He performed for more than fifty years in Utah and earned critical praise from the community, including Brigham Young. He died in 1914, and is remembered as a respected and influential contributor to Utah theatre. Unlike traditional proscenium theatres, the Margetts is an adaptive performance space, commonly referred to as a Black Box or Arena Theatre. It was specifically designed to give the director more flexibility in terms of where they placed the actors AND the audience. While proscenium theatres have a fixed seating arrangement, a "black box" allows the director to decide where seats are placed, and where the "stage" is located - providing her complete control over the audience-actor relationship. Our set designer adapted the space to fit the demands of our script. Although it is usually produced on a proscenium stage, the use of a black box theatre for See How They Run gives the play tight and fun feel. With only a few feet separating the seating from the acting space, it feels like the audience has been dropped into the living room of an English vicarage. Tickets are going fast! Purchase yours here: arts.byu.edu

by Abram Yarbro, dramaturg This week included a curiously fun rehearsal. We’ve gotten to what I think is the funnest part of the rehearsal process. The cast has their lines memorized, which frees them to explore more of their characters. Last week our director asked each actor to associate their character with an animal and research that animal. Tuesday night, everyone acted like their animal while exploring each other and their environment. This exercise is meant to find the different energies of the characters in See How They Run. [caption id="attachment_3052" align="alignright" width="300"] Rehearsal started with a simple calming exercise.[/caption] With everyone calm and relaxed on the floor, Director Barta Heiner gently asked them to imagine their chosen animal and impersonate it. The key is to let go of normal human reactions for the animal’s impulses. The actors were asked to explore the animal’s primitive emotions, how they react to the other animals in the room, and the environment (the rehearsal room randomly set with blocks, chairs, and pads). The room became very active and started to look something like this: https://www.youtube.com/watch?v=_NMTD5gZyzw&feature=youtu.be Can you guess any of the animals by how they’re acting? Eventually the actors stood and started speaking, using their lines and occasional improvisation to interact with each other, but still channeling the animal they had just explored. There was one final calming exercise before we gathered around to talk. This exercise provided some fascinating insights into the characters. In the play, the Reverend Lionel Toop and his wife, Penelope, are often at odds with each other. The actor for Lionel was a Meerkat and noticed that his animal and the animal for Penelope (a Golden Retriever) initially did not mesh. He thought, “This isn’t going to work. Is she going to eat me? What is going to happen?” Eventually it became playful between the two of them and he concluded, of the characters, “we’re an unlikely pair, but we can get along.” Miss Skillon is the town busybody and stirs up some trouble at the vicarage. The actress for Miss Skillon decided that her character closely resembled a Rooster. “They are very territorial and very necessary in the chicken realm but nobody likes the rooster. Miss Skillon is necessary to the parish (church congregation) but nobody likes her.” [caption id="attachment_3053" align="aligncenter" width="498"] The cast pose as their chosen animals.[/caption] Most of the actors had realizations about their character as a result of this exercise. As we ran through Act III, the actors brought elements from their animals into their characters. Each actor had an unique energy they were portraying with their character, grounding them better in their role. The exercise was a success, however, it did result in our biggest injury yet. During the animal exercise, one of the actors hit a sharp edge and sliced his eyebrow open. Our very helpful Assistant Stage Manager took him to the Urgent Care. Four stitches later he was back in rehearsal and ready to reprise his role as the Russian spy. We think the scar will give him the sinister look he needs as the show’s bad guy and he thinks it’s a great addition to his Halloween Costume!

By Abram Yarbro, dramaturg [caption id="attachment_3002" align="alignright" width="194"] Set Designer, Logan Hayden[/caption] For the interview, See How They Run set designer Logan Hayden agreed to take me to the Margetts Theatre where some of the set has been constructed. We were both very excited at seeing the performance space finally take shape, but he could hardly contain it when he saw the latest construction: Logan Hayden: “I've been waiting for these pieces to come together for so long so I could actually look at them. And... Wah Lah. And now I can stand up here instead of imaging what it would be like!” [caption id="attachment_3001" align="aligncenter" width="503"] The walls are up and the set starts taking shape.[/caption] Abram Yarbro: Why did you want to be a Set Designer? Logan Hayden: I did design in High School. I started as a lighting designer and I designed four or five shows and then I ended up doing a scenic design my senior year which I loved. And then I went to college, I went on my mission and then I came back and said “that's going to be a fun hobby but I'm going to find a JOB." And then I met Rory Scanlon and he advised me to take a scenic design class from Eric Fielding, who used to be the scenic design teacher. I started taking that class and loved it and then I started taking more classes and doing more things. Eventually I got sucked into the theatre vortex and haven't escaped since! [caption id="attachment_3005" align="aligncenter" width="448"] The playing space is painted like the wood floor of an English vicarage.[/caption] AY: So take me through the process from being contracted for the show to now. LH: I was first invited to do the show in mid-January. Eventually we got scripts and I read the story. We started having production meetings and then as I read the script I would do the normal paperwork to notes of “enters through the door here,” “sits down on the couch here.” I found some really interesting books from the library that had typical classic English homes. I used those as visual reference of architecture, sizes, types, styles, some colors and also my concept sheet. As I talked with Barta (the director) about how she wanted it to be a whimsical farce, I thought of the birds. I guess if you look at it, maybe you can think of it as just a giant birdhouse. I spent a lot of long nights trying to put my research together. Thankfully I've had a lot of good conversations with Barta. [caption id="attachment_3006" align="aligncenter" width="507"] These platforms will hold 150 chairs for the audience members.[/caption] AY: So you did the research and then you do a sketch, like a design sketch? LH: Sometimes you start with a pencil sketch, sometimes I start with a 3D modeling program. I definitely have a sketch up model, I don't remember if I have any hand sketches. Then eventually I took that sketch model and turned it into drafting plans which I eventually turned into the shop so they could build it. From those drafting plans, I printed them out in scale, pasted them on foam core, and turned it into the white model. [caption id="attachment_3004" align="aligncenter" width="413"] The White Model of the See How They Run set.[/caption] AY: I know that the script comes with a recommended set plan, why did you do something different? LH: I really like to take a script and make it my own in whatever way that is. Some people might do that using the plans that were there. But especially in this space.... There were a lot of problems we were running into. If we were on a proscenium, that would have been a lot easier. It's kind of an awkward space for the script so we ended up turning it sideways to try to get that corner and the space that it affords us. That's why the seats are tilted. [caption id="attachment_3008" align="aligncenter" width="451"] The suggested scene design doesn't fit in the Margetts Theatre[/caption] AY: If there was one thing you wanted people to notice about your set what would it be? LH: Part of me would say nothing because then they're paying attention to the story. I think we have a lot of fun details planned into set, nick-knacks here and there that hopefully doesn't take away from the play but adds a little flavor that people weren't expecting. Unexpected little things that if you notice it, you will appreciate it but it won't distract. So just watch for the little Easter Eggs.

by Abram Yarbro, dramaturg The costume designer's first step when contracted for a show is analysis of the script. They look for time period, setting, social class, theme and more for inspiration. They collaborate with the director and other designers in the hope of achieving continuity throughout all the design elements. Next comes research. Our designer, Marissa Pack, needed to know how women, men, vicars, bishops, maids, soldiers, and convicts dress in 1940s England. She researched colors, patterns, material, weight, and cut before sitting down to design. In one of our first Production Meetings, our set designer pulled a YouTube video of a bird feeding frenzy that exemplified the “whirlwind farce” concept our director has envisioned. Much like our characters onstage, the birds in the video fly in and out of the shot, they jump and fight over the feeder, and the mayhem is a little comical to watch. The bird idea stuck and many of the designers worked bird into their design concepts. Do you notice any birds in the design of our costumes? These renderings were presented with fabric swatches to our director for approval before given to the costume shop to be constructed. Some of the costumes can be pulled, meaning they are created from other clothing found in the costume shop's storage. Penelope's Kimono for Act I was pulled from storage, allowing more time and money to be spent on other costumes. Miss Skillon's costume was eventually redesigned. Instead of the blue dress, the director wanted her in a more conservative, textured ensemble. Marissa found a tweed coat and skirt in the shop to give her a serious, older tone. Of course many of the costumes, like Ida's evening dress, will be built from the ground up by our incredible costume shop staff. Often costumes are first built with white fabric. This is called draping and allows the costumers the freedom of trail and error without using the expensive fabric. The actors won't be wearing the costumes until later in the rehearsal process but have frequent fittings to ensure the right fit. Our costumers are on-track for having our cast dressed up for opening night!

By Haley Flanders, dramaturg Néstor Bravo Goldsmith is the guest director for The Fisherman and His Wife. He is an accomplished Chilean theater director, performer and theater professor. He earned a Ph.D. in Theatre and Performance of the Americas from Arizona State University, and received his M.A. in theatre and media arts from Brigham Young University. He also has an MFA in Directing at the Universidad de Chile. To understand more about his vision for this production, I asked him the following questions: Haley Flanders: What are your special areas of training? Nestor Bravo Goldsmith: As a performer I have been trained in a variety of methodologies and techniques, from Stanislavski to Barba, as well as in acrobatics, Commedia dell’ arte, mask, and corporeal mime. Also, I have formal training in directing. [caption id="attachment_2933" align="alignright" width="248"] Néstor as a mime.[/caption] HF: How did you use your skills in directing this production? NBG: All those methodologies and techniques I name above are present in this show to some degree. Nevertheless, corporeal mime has been applied extensible on the show, even on Isabel who is the most realistic character of all. This production was staged for touring at different schools, therefore the mise-en-scene not only has to be simple and practical, but also visually attractive and entertaining for large young audiences. Thus, we have to dilate the body of the actor, stylize their movements, and corporeal mime helps us in that regard. Besides, the dramatic action of the play takes place in different locations and dwellings –at the seashore, in a hut, a cottage, and three different castles–, how can we create those places in a practically empty stage? Here, physical theatre comes again to help us, although with the complicity of the audience. Our most important resource we count on for this show is the spectator’s imagination. Through acting, beautiful costumes, simple setting and just few props we invite our audience to co-author the show imagining, and sometimes enacting the sea shore, a big storm, a humble hut, as well as a lavish castle. HF: Talk about your director's concept: [caption id="attachment_2934" align="alignright" width="190"] "The Fisherman and His Wife" Painting by Wanda Gag.[/caption] NBG: The director’s concept is a preliminary map of a territory that does not yet exist. A blueprint made of images, concepts, sounds, kinetic sensations, spatial relations, potential acting techniques, literary references, and other components that somehow reflect the meaning of the play, and convey the form and style envisioned by the director. In this case, I have been influenced by characters from James C. Christensen paintings, as well as a magnificent graving by Wanda Gág, (pictured to the right) which portrays an enormous and powerful Queen ruling over an army of soldiers. The fact that the BYU Young Company is an actual traveling troupe inspired us to use colorful flags, which are also used to create the different castles and interior rooms.

by Haley Flanders, dramaturg Fisherman and His Wife is currently up and running on BYU's Nelke stage. To celebrate our production, we wanted to give you the chance to get to know the cast that is bringing this story to life. You can meet the Fisherman and his wife, Isabel, here. You can also meet the Flounder and the Seahorse here. Today, we finish up our introductions with the Storyteller and the Kokken. Name: Mariah Bowles Character: Storyteller If you could have a supernatural helper, what would you have? I would definitely want a fairy godmother. A genie in a lamp limits your number of wishes, and the last time I caught a magic flounder it took weeks to get that fish smell off my hands. What would you wish for? I'd wish for an increased amount of love for others. A yacht wouldn't be bad either. What is the overall message of this play? The person we become is determined by what we chose to set our hearts on. We all have the potential for goodness or evil, but who we become is a result of what we've sought to surround ourselves with. What has this message taught you? It has taught me to be grateful for the things that I have, and to focus on those aspects of my life that are most important. It's also taught me that I have the potential to make the mistakes Isabel did. However, I can avoid that by choosing each day to go after what is right. What was your favorite part of working on this show? Working with and learning from our fantastic director, cast, crew, and collaborators! I've grown a lot from the insights they've given me, not only as an actress, but as a person. Name: Nicole Ganowsky Schofield Character: Kokken #1 If you could have a supernatural helper what would it be? I'd have to say a genie in a lamp, but he'd have to be super cool like the one from Aladdin. We could do pretty sweet musical numbers together, play lots of fun games, and once I used up two of my wishes, I'd use the third to set him (or her) free! But we'd still be best friends for life!! What would you wish for? I'd wish for my dream house; 5 bedroom, 3 bathrooms with an amazing kitchen, movie room, and a beautiful back yard with lots of grass! My second wish would be for my husband and I to die at about 90 years old, in our sleep, together (cue adorable sigh here). What is the overall message of this play? "Be careful what you wish for." Sometimes wishes have a way of backfiring on you and your loved ones. What has this message taught you? Before you can be happy with what you want, you must be happy with what you have. Learn to be content with where you are at in your life. If not, you will always find something wrong, something more you want, and nothing will ever be enough. What was your favorite part of working on this show? Becoming friends with all the cast members and crew, and getting to know each of their lovely selves. I love you guys! Name: Rachel Belt Character: Kokken #2 If you could have a supernatural helper, what would you have? A Fairy Godmother. What would you wish for? I would wish for my family and friends to be happy. What is the overall message of this play? Greed is all-consuming and never brings true contentment. What has this message taught you? It has taught me that I can be happy with the little things in life, and that if you allow yourself, you can be happier with little than with everything. What was your favorite part of working on this show? The people and the collaborative experience. In some ways, it’s a little scary that things are so fluid and flexible, but it’s cool to be able to see all of our ideas melding into one to create one fun and meaningful show.

by Haley Flanders, dramaturg Fisherman and His Wife is currently up and running on BYU's Nelke stage. To celebrate our production, we wanted to give you the chance to get to know the cast that is bringing this story to life. Check back over the next few days to meet the rest of these talented students. Name: Brandon Luke Bringhurst Character: The Fisherman If you could have a supernatural helper, what would you have? I’ve always thought the Blue Fairy from Disney's Pinocchio would be awesome! What would you wish for? The ability to be in several places at once. What is the overall message of this play? True happiness doesn’t come from power or possession; it’s found in the home and the people we love. What has this message taught you? We often want so many things, from our casual pleasures to our deepest desires. But I learned in this show that finding that happiness inside myself can become a rich treasure that neither money or magic can give. What was your favorite part of working on this show? I learned so many techniques from our brilliant director (Nestor Bravo Goldsmith) that helped me develop this character and communicate emotion to the audience. That learning process was definitely my favorite part. Of course, none of it would be possible without this wonderful cast and production crew! I’ve really grown to love them so much! Name: Lizzie Mickelsen Character: Isabel (the fisherman's wife) If you could have a supernatural helper, what would you have? A Fairy Godmother. What would you wish for? A cure for cancer. What is the overall message of this play? Be careful what you wish for. What has this message taught you? Sometimes what we think will make us happy right now isn't what is best for us in the long run. Sometimes the things that will make us the most happy are the simple things we already have that we have forgotten to appreciate. What was your favorite part of working on this show? This has been the hardest show I have ever been a part of; and I have loved every second of it! I can't pick just one favorite part! I have loved getting to know my castmates and being able to work with them. Building this show as a team with Nestor as our guide has truly been an incredible experience. This show has pushed me farther out of my comfort zone than I thought possible and I am so grateful for that. I will remember this show for the rest of my life.

by Haley Flanders, dramaturg REMINDER: THE PLAY OPENS THIS FRIDAY, SEPTEMBER 26 AT 7 PM IN THE NELKE THEATRE! Over the past couple weeks, the cast of The Fisherman and His Wife has been participating in workshops with Teresa Love, an adjunct professor at BYU who teaches theatre for the elementary classroom, storytelling, and adapts many of the TYA plays performed on the BYU stage. (Fun fact: She wrote the script to BYU's most recent mainstage play, The Selfish Giant.) Through games and exercises, she helped the actors construct a post-show interactive workshop for the 3rd graders. The workshops will take place after the students have seen the show performed at their elementary school. In the image below, the cast collaborated to create a frozen image of the emotions and themes that depict the play's storyline: CONTENT, POSSIBILITIES, DESIRE, UNSATISFIED, REVERSED, HAPPY.Based on this image, the cast formulated 3 different games to play with the 3rd graders: 1) "Day Time, Night Time" (Adaptation of "Red light, Green light"): This game depicts the exhausting amount of energy exerted by the fisherman as he went back and forth to the seashore, day after day, to ask the flounder to grant his wife's many wishes. It also demonstrates how tiring it was for the flounder and his seahorse assistant to constantly fulfill someone else's selfish demands. It is as if Isabel was controlling their every move, telling them when to stop...and go! The cast practiced teaching this to the students by playing them together (image below). 2) "Tidal Wave!" (Adaptation of "Captain's Coming!"): The game depicts the many physical movements that the actors and audience do together during the show. The students listen for the name of an action and a number, and must do the action with that number of students: bow to the queen (image below), cluck like chickens, quack like ducks, etc. If they cannot complete this task, they are out. 3) Pass the Present: This activity requires a lot of pantomime. The students imagine what they would wish for if THEY found an enchanted fish that could grant wishes. Then in a circle, they take turns miming the actions of opening a present containing the thing that they would wish for (like an umbrella, in the image below), playing with that object, putting it back in the box, and passing it to the next person in the circle. This teaches them to practice their miming skills (a major element in the show) and to experience having their wish granted, just like the title characters of the play. The process of picking these games required the cast to play MANY other games, such as "Human Knot", which addressed many of the play's chosen themes, such as possibilities, desire, reversing, and being unsatisfied (they were not able to untie their human knot). Below, Teresa observes as the cast experiences many of the emotions and struggles felt by the characters in the play, always coaxing them to tie these lessons to the messages they desire audiences to learn as they watch The Fisherman and His Wife.