ISSUE 14 FEBRUARY / MARCH 2011 Editor-In-Chief Mormonartist Ben Crowder Covering the Latter-Day Saint Arts World Managing Editor Katherine Morris

MormonArtistISSUE 14 FEBRUARY / MARCH 2011 editor-in-chief MormonArtist Ben Crowder covering the latter-day saint arts world managing editor Katherine Morris

section editors Mormon Artist is a bimonthly magazine Literature: Katherine Morris published online at mormonartist.net Visual Arts: Liesl Hansen Music & Dance: Annie Mangelson Film & Theatre: Meagan Brady issn 1946-1232. Copyright © 2011 Mormon Artist. All rights reserved. assistant editor Jon Ogden All reprinted pieces of artwork copyright their respective owners. this issue Front cover and back cover photographs writers © Robert Anthony DeRosa 2010–2011. Elizabeth Rhondeau Meagan Brady interviewers Design by Ben Crowder. Elsie Boyer Katherine Morris Liesl Hansen Mahonri Stewart Myrna Layton Shelia Cosper photographers Lizzy Bean Tiffany Tertipes Val Hunter

CONTACT US Want to help out? WEB MORMONARTIST.NET http://mormonartist.net/volunteer EMAIL [email protected] Table of Contents lds film festival reviews Cricketless iv Review by Elizabeth Rhondeau My Girlfriend’s Boyfriend v Review by Elizabeth Rhondeau The Book of Life vi Review by Meagan Brady

literature Stephanie Black 1 Interview by Katherine Morris

visual & applied arts Ashley Smith 8 Interview by Elsie Boyer

Robert DeRosa 18 Interview by Liesl Hansen

music & dance Janice Kapp Perry 28 Interview by Myrna Layton

film & theatre Eric Samuelsen 36 Interview by Mahonri Stewart

Kymberly Mellen 42 Interview by Shelia Cosper

Mormon Artist Magazine iii LDS Film Festival Reviews

Cricketless Review by Elizabeth Rhondeau Writer, Director: Joel Ackerman Producer: Raven Alard

Envision. Create. Illuminate. For an entire decade now the LDS Film Fes- tival has called to creators everywhere for the fulfillment of their mission— and in Joel Ackerman’s 2011 entry Cricketless, they got it. I will warn you now that I went into this screening a little more than slightly biased; while most of the masses were intent on catching the Image courtesy Raven Alard Festival’s international fare at The Book of Life in the Grand Theater, I Confusing her at first, I only had to kiss victim Natalie, and acclaimed had chosen an afternoon in Show- say the word film to gain a mutual psychologist Dr. Noah G.. Carmoly set house II based solely on the fact that understanding, after which we rev- out to do just that through a series of I had seen some of Joel Ackerman’s eled silently, smiling, in the glow and unconventional experiments in search work before, and through those warmth of creativity’s victory. of signs of moral life. Despite disbe- experiences had generally come to the So now you’re thinking I am either lieving the existence of Jiminy Cricket irrefutable conclusion that whatever overly excitable or very simply insane. himself, Dr. Carmoly’s shock tests and he touches turns to gold. His capstone Let me explain. shell recordings lead to the ultimate film for Brigham Young University’s The story structure may itself be revelation that Adam does indeed have film program did not disappoint, as simple; it’s boy-meets-girl in what the a conscience—it just speaks to him in might be noted from my own notes filmmakers call a “poignant romantic a foreign language. of the evening—a reveling, scribbled comedy.” But Cricketless redefines Envision? Director Joel Ackerman mess of departure from my more care- the meet-cute when the opening explains that the genesis of the project ful thoughts on previous films. Crazy scenes have boy Adam O’Dea (Topher stemmed from a common dismissal he fantastic! I wrote across the page, two Rasmussen) literally running into girl heard in response to news of this-or- sizes larger than practical or neces- Natalie Endicott (Megan Jones)—in that horrific happening—robberies sary. Restored all faith in humanity! his car. On purpose. Because he’d re- or rapes or murders. Attempting to Cricketless makes me want to hug a ally like to get to know her. It’s yet an- explain the inexplicable, Ackerman film major. other point against him in Adam’s life- would hear most people excuse the No, really. I sang my way home long list of strange offenses, and as an committers of crimes as simply not and ran immediately to my roommate eighteen-year-old this last strike could having a conscience. To Ackerman (conveniently working on a capstone send him to a fifteen-year stint in jail the answer seemed slightly more film herself), attempting to put into or an indefinite future in the mental complex. “They probably do have a that hug what I could not find in hospital if no one can find Adam what conscience,” he concluded. “It just words: Thank you for capturing the he seems to lack: a conscience. With speaks Armenian.” deeper depths of beauty in this world a week’s leeway, Adam’s mother Lil, Stemming from that idea alone and sharing it for all the world to see. attorney Greg Gregerson, hit-and- he went on to then create a story not

iv Issue 14 • FEB/MAR 2011 in a rare moment of cinema sustain- ability actually lives up to it. Girl? Boy? True Love? My Girlfriend’s Boyfriend has got it all and then one-ups all the rest with a story finally worthy of both romantic and comedy to its title. In a twist true to the film’s tagline, this is the story of a girl who meets her one true love . . . twice. Alyssa Milano plays the girl, a classy sass named Jesse whose confidence opens a conversa- tion with boy Ethan (Christopher Gor- ham), a writer with no publications to his credit and yet another rejection

Photo courtesy Raven Alard letter in his hand. He’s on the brink of ultimate surrender when Jesse’s abrupt only beautifully crafted from script to you not only with a sense of pure satis- arrival plays muse to his artist and screen but one that illuminates our faction in entertainment rightly done life starts looking up. Pocketing her understanding of right and wrong, but also with the unparalleled edifica- number and promising to call, Ethan the consideration and consequences tion of Truth illuminated. Watching exits Act One and the scene is set for of choice, and ultimately, how the the film, you have plenty of time to another hour of the usual silver screen Spirit speaks to us individually. “If enjoy the aesthetic of it all. Clever romanticizing until—mere moments you’re living life right it will hurt when but never over-written, the script is after finally finding the perfect guy for you do something wrong,” Ackerman succinct with enough space to lead her—in walks Mr. Right. explained. But what if you don’t have and leave you to your own expanding Contrasting Ethan’s nerd-passion the language to differentiate between thoughts. The acting was superb and and sweet sentimentality, Troy (Mi- the two in the first place? spot-on, the art direction a dream of chael Landes) arrives on the scene Intentionally playing on the name clinical whites and honeyed warmth. with more suave than all fifteen of Adam, Cricketless’s main character While fictionally fantastical, the story seasons of The Bachelor combined. A embodies the innocence of the Garden stays believable, and each character is successful ad exec with all elements of of Eden, naïve and childlike with no emotionally rewarding. In the enter- tall, dark, and handsome, he is Prince thought between action and reaction. tainment essentials, Cricketless is good Charming personified and proceeds But Cricketless is set in the lone and to go. But then, once it’s over, you have to sweep Jesse right off her feet with dreary world, and through Acker- the added joy of extended satisfaction every expected accoutrement: roses, man’s eyes we begin to understand the in a film that leaves you to dwell on the candlelit dinners, afternoons of golf consequences of innocence and the es- more eternally important principles at the club and evenings at souped-up sential quest to understand the Spirit’s of the soul’s aesthetics, a film that not soirees. Jumping between scenes of stirrings. Just as Adam in the Garden only fortifies an existing testimony Jesse’s dates with both boyfriends, it needed to learn the language of his but builds upon it. And that, in five seems a clear-cut win for Troy in the Father in order to make righteous de- paragraphs or less, is why I reserved game of love—and yet Ethan isn’t cisions, so is Adam O’Dea required to my exclamation marks for this film in about to give in either. So now you’re learn the language of his birth father the Festival. You won’t need Jiminy on thinking this is just another predict- (an Armenian love his mother met in your shoulder to know that experienc- able write-off. Well, that’s what Paris) before he can understand the ing Cricketless was a good choice. you think. difference between right and wrong. Envision. Create. Illuminate. Hug a The ensuing dilemma and ultimate He needs to learn, essentially, what film major. ❧ happily ever after make My Girlfriend’s we all should take time to study: how Boyfriend exactly what it proposes the Spirit speaks to us, and then to My Girlfriend’s Boyfriend to be: the sweet fluff of romance for act accordingly. Review by Elizabeth Rhondeau the perfect Friday night escape. For It’s a risky reveal and almost preco- those looking for a few hours of light cious plot line, one that flirts danger- Writer, Director: Daryn Tufts Producers: Rick McFarland & Alyssa Milano entertainment and a sugary aftertaste, ously between soul-swelling perfec- this film fits the bill. It’s endearing, en- tion and Sunday School pedantic, but It’s a romantic comedy claiming to be gaging, and, though not thematically Cricketless is unquestionably—and everything every other romantic com- Mormon, espouses solid values and seemingly effortlessly—the former. In edy has ever claimed to be—but then appropriate humor, all providing for a only twenty-six minutes the film leaves

Mormon Artist Magazine v classic, clean story that epitomizes the Warrior and My feel-good. From the Latter-day Saint Turn on Earth, filmmaker’s perspective it is a triumph: with scenes of pre- well-shot, well-written, big-name ac- mortal, mortal, tors. By all accounts it’s a movie for the and post-mortal masses made by a Mormon. But unlike life. Lui plays a more mainstream fare of the same young man who genre, My Girlfriend’s Boyfriend will falls in love with leave you with a little more than mere Chiara, a beautiful entertainment. A romantic comedy pianist who never with twist enough to add some real seems to smile. He intelligence, this film also gives you makes it his pre- something to think about. mortal life’s mis- And that, for me, is what bumped sion to make her this story up to A+ stuff. To watch Jesse laugh; a quest that caught between two equally intriguing continues on earth loves but left with only one choice was when he, now a crash-course in What Really Matters religion teacher, 101. Being able to contrast the typical joins the faculty of Troy story with the more realistic and the school where haphazard Ethan plot seemed to me Chiara teaches an excellent study in what romance music. Through has become today—and maybe what his antics he is it really should be. In a world defined finally able to coax by vampire romances and Hollywood’s a smile to her lips, monopoly on what’s hot and who’s but things are Image courtesy Ugo Perego not, My Girlfriend’s Boyfriend is a re- not quite what freshing return to the realm of a much they seem. Lui shot the entire production more edifying reality. It’s a gentle re- Despite this rehashing of a familiar on location in Italy on an extremely minder of the difference between reel plotline, the comparison to early plan- tight schedule of only three weeks, yet love and, well, real love, what sells and of-salvation productions really ends the movie doesn’t play that way at all. what stays. It’s Friday night fodder for there. The doctrine is a little shaky in The shots are rich and varied, and the some serious Saturday thought that, in some areas, but The Book of Life offers lighting is fantastic. The pacing doesn’t my house, spilled over into Sunday af- a fresh take on several eternal truths feel rushed, and is perhaps even a ternoon discussion. Romantic comedy that will resonate with Mormons and bit too slow in parts. I only wished I going where no romantic comedy has non-Mormons alike. spoke Italian so I could spend less time reading the subtitles and more time gone before? Yes, please. ❧ Beneath the surface love story that serves to drive the plot are deeper ele- soaking in the beauty of the film. It’s undeniable that Marco Lui The Book of Life ments that combine to create a richly layered film. Lui’s character works as carries this film. His superb acting Review by Meagan Brady the professor of religion in the small provides nearly all the comedic mo- Writer, Director, Producer: Marco Lui school, and the film highlights several ments, but he is also the heart of the of the lessons he gives to his students. picture, and it is his testimony on With a narrative style reminiscent Mormon audience members may which it is based. of The Princess Bride and physical recognize allegories and object les- Several other actors give fantastic comedy that rivals the best of Charlie sons from primary lessons, yet these performances as well, most notably Al- Chaplin, The Book of Life is a treat for familiar scenes somehow translate to ice Rosolino, the famous Italian child audiences of all ages. a much broader audience in The Book singer who plays Chiara’s precocious The film, written by, directed by, of Life. A segment where Lui describes niece and a student in Lui’s classroom. and starring Marco Lui, has the dis- the elements of the soul as body and Her bold manner and contagious en- tinction of being the first foreign entry spirit using a glove for a prop is a text- thusiasm for life serve well to draw the screened at the LDS Film Festival— book LDS object lesson, but the idea is viewer’s interest. and it has set the bar for future foreign presented so simply and beautifully it Lui funded the The Book of Life film entries very, very high. seems accessible to any viewer. completely out of pocket, and it is The plot is comparable to earlier Then there is the matter of obvious this beautiful piece of art was Mormon classics such as Saturday’s the cinematography. truly a labor of love. ❧ vi Issue 14 • FEB/MAR 2011

Mormon Artist Magazine vii

Photos courtesy Ugo Perego viii Issue 14 • FEB/MAR 2011

Photo courtesy Stephanie Black Stephanie Black

INTERVIEW BY KATHERINE MORRIS WEB: WWW.STEPHANIEBLACK.NET

How did you first get started writing? think writing is a grown-up version of Tell us about the process of get- I’ve always loved books. My mother playing Barbies or playing pretend—I ting your first novel, The Believer, reports that even when I was tiny, I’d outgrew the desire to play with a doll published. What did you learn about look at books for a long time (which or pretend I was someone else, but I writing and publishing from that was probably a nice break from my didn’t outgrow the desire to make up first experience? hanging on her leg and crying, a stories about fictional people. When I was a senior in high school, I favorite activity of mine). As a child, When we were kids, my sister and took a creative writing class. For my I enjoyed make-believe games—my I wrote a couple of plays for ourselves last short story assignment, I wrote a favorite game was playing Barbies with and our younger siblings, and when I snippet of a futuristic thriller. On my my sisters. We also enjoyed pretending was twelve I won an award for a story story, the teacher wrote “Interesting— we were Charlie’s Angels or the Bionic I’d written. That was exciting—I think don’t stop!” I didn’t stop. I played with Woman, and we would run around it helped give me an inkling that writ- that idea for years, writing various outside having adventures. For me, I ing was something I was good at. scenes and thinking I wanted to write

Mormon Artist Magazine 1 a novel. Finally, I decided to actually dream was coming true! In January their prediction. An obvious villain is try writing that novel, start to finish. 2005, The Believer was released by disappointing to readers. I got a couple hundred pages into it Covenant Communications. I’ve also learned that it can get and realized I had a plot going off in I learned a lot from that first tricky to plot new books after writ- too many directions. At that point, I experience, both about the work and ing several of the same type of novel. read my first fiction technique book— the technique involved in writing a I’ve published three suspense novels Jack Bickham’s The 38 Most Common book, and about the publishing world. (Fool Me Twice, Methods of Madness, Fiction Writing Mistakes (And How to I fear it might unnerve new writers and Cold as Ice) and have a fourth Avoid Them). That book was an eye- when I tell them how long it took scheduled for release sometime in opener for me; now I could see what me from when I started the first draft late summer or early fall (working I’d done wrong in my partial draft. I of The Believer to when it was accepted title is Rearview Mirror—I don’t know set that first attempt aside, hammered for publication (somewhere around if that will be the final title). As I out a new outline, taking many ideas ten years), but I wasn’t just writing a recently started brainstorming my from the original story, and set to work novel—I was learning how to write a fifth suspense novel, I was making again. This time, I completed the first novel. I also learned it wasn’t enough lists of things I’d done before—this draft of my dystopian thriller, The Be- to write a good book—it had to be a villain killed for revenge; that villain liever (by this point, it bore very little marketable book, something the pub- killed out of pride, or what have you. resemblance to that original seed of an lisher thought could sell successfully Reusing motives is fine—countless idea from my creative writing class). in the current market. mysteries have the villain killing for, For years I worked on that manuscript, say, greed—but things need to be fresh rewriting it. I read a lot of fiction tech- You write mystery/suspense. What with each new book. nique books—there was far more to drew you to that genre? What have writing fiction than I’d realized when you learned about the genre since You’re a stay-at-home mother with I first started working on a novel! I got you’ve started writing in it? five children. When do you write, and feedback on the book from my family; I’ve long enjoyed reading mystery and how much writing do you get done on I was far too shy to show my manu- suspense novels. When I was a young an average day? How do you balance script to anyone else. child, I loved Nancy Drew. When I your roles as a mother and as a writer? After so many drafts that I lost was a little older, Mary Higgins Clark When my children were little, naptime count, I finally felt I was ready to became a favorite. I’m not an adven- was my golden writing time. Once the submit my manuscript to a publisher. turous person, but I enjoy the vicari- littlest one was asleep, I’d race for the That first trip to the post office felt ous excitement of likable characters in computer. My children were all good momentous—my kids even made danger and the satisfaction of a solved nappers, for which I’m very grate- a sign to stick in the window of the mystery or a thwarted evil plot (gotta ful—they’d take a long afternoon nap car, saying something like “World’s have that happy ending!). up until around age three, when they’d Greatest Writer.” Three weeks later, a The Believer got great reviews, start to phase it out. I really treasured rejection letter landed in my mailbox. but sales were disappointing, and my that naptime! Reality check! Intellectually, I knew publisher suggested I try writing in a As the kids have gotten older, I that rejection was part of the busi- different genre—something not fu- can be more flexible in when I write. ness, but now I’d experienced it—the turistic. Since I’d always been a fan of My youngest child is now in school all dreaded form rejection letter. I tried contemporary mystery and suspense, day, so I have more potential writing again, submitting the manuscript to it was a natural choice for me. I’d writ- time than I ever could have dreamed another publisher. This time, it took ten the beginning of a suspense novel of when they were tiny—but ironically, over six months before I heard back. a few years back, so I took that begin- I struggle with productivity. With my They liked it but were skittish about ning and set to work. That book was first book, I was so excited about it and the science fiction elements of the published in 2008 as Fool Me Twice. loved working on it so fervently that I story—science fiction can be a difficult In writing mystery/suspense, one didn’t need to discipline myself—the sell in the LDS market. They also thing I’ve learned is that readers like excitement carried me, and I would wanted it more directly targeted to an being surprised. They enjoy twists and work on it whenever I got the chance. LDS audience. turns, and they don’t want the solution Now, I really need to develop writing I spent nearly a year rewriting the or the course of the plot to be obvi- discipline, and I haven’t achieved that book to make it less futuristic and ous—if they suspect whodunit early yet. I find myself frittering away far more LDS and submitted it again. on, either you’d better make it tricky too much time—Oh the lure of the What a great moment that was when enough that they’re proud of them- Internet to distract me when I should I read the email telling me my book selves for nailing it, or you’d better toss be writing! I don’t have a set amount had been accepted for publication. My things at them to make them question of writing time each day—some days

2 Issue 14 • FEB/MAR 2011 I make good progress and other days little or none. Which reminds me . . . I really need to get to work on that new novel . . . Balance can be a struggle. When I’m excited about a project and things are going well, I can find it difficult to set the laptop down, even when I really need to focus on other things. And it’s easy to use writing as an excuse to procrastinate—“Oh, I want to work on this first before I (fill in the blank with some task that I’m putting off).” The areas of discipline and balance are ones where I really need to improve.

What is the most common reaction you get when people find out you’re a Mormon stay-at-home mom who writes mysteries and suspense? Sometimes I get funny comments from people who’ve read my books—like the sister in my ward who said I must have a “dark side.” It was all in good fun, but I think it does surprise some people at first when they find out what kind of chilling stories I can create (but bear in mind I’m not creating anything too horrible—this is LDS fiction we’re talking about!).

So far, you’ve published exclusively in the LDS market. What do you like about writing for the LDS market and what are some of the challenges you’ve faced? I like the comfortable feeling of being “at home”—I’m so accustomed to being in LDS settings that writing for an LDS publisher is a natural fit. I never have Image courtesy Stephanie Black to worry that my publisher will wonder why I’m so strict about not including easily attend writing events with LDS self-conscious as an author writing certain content that I’d find offensive. authors and readers, like the recent LDS fiction, but intellectually I know I’m grateful to be with my publisher, Life, The Universe, & Everything I shouldn’t be so shy—just because and I’ve have had two editors who are symposium at BYU, or the LDS Book- I write for a different market doesn’t both wonderful to work with. sellers Association Convention. The mean we’re not all writers, and I really Challenges? The vast majority good news is that the Internet is such should get involved. of writing-related events in the LDS a blessing for networking with other market take place in Utah, and I don’t authors and readers—even if I can Talk about your process now that live there, so I miss out on some of only connect in person once or twice you’ve published four novels. How that association with other authors a year, I can build connections and does an idea for a story start? How and readers. While I don’t feel this friendships online. long does it take to write a first draft? hurts my writing career, I do admit I haven’t gotten involved in my How much research do you do? Do to jealousy (this sounds petty, doesn’t local writing community, fearing, I you outline, or are you more of a it?). It would be fun to be able to more suppose, that I’d feel out of place and discovery writer?

Mormon Artist Magazine 3 Photo courtesy Stephanie Black

My first two novels grew from ideas with, I try to create a rough outline. match reality. For instance, I used to that had been percolating for a long I need that outline to get me started, live in a small town in Massachusetts, time. After I submitted my second but it’s very broad. It contains the but when I wanted a Massachusetts novel, I faced a new and daunting general story (though I might change town for my story, instead of using challenge—starting a manuscript my mind on some points later) but that real town, I invented one. That when I had no idea what it would be doesn’t contain details of how scenes gives me maximum flexibility. Do I about. All I knew was that I wanted will unfold. need a hill leading down to a pond? another contemporary suspense novel Research is not my favorite thing— Here it is. A dark, winding back with a young female protagonist. From it’s plain that I’ll never be a historical road? I can invent one—I invented there, I started brainstorming. That’s fiction writer! For instance, I always the town. The Internet is a fantastic how I started the books that followed set my novels in fictional locations. resource for a writer. And people with as well—brainstorming. I type ideas Suspense readers won’t care that the expertise in various subject matters into a brainstorming file, listing pos- town doesn’t really exist, as long as have been a great help to me—my sibilities and working with ideas until the feel of the area is right; and with a daughter knows a lot about police finally, a story idea starts to take shape. fictional location, I don’t have to worry work, and I’ve asked her countless Once I have enough of a plot to work about making every detail of the town questions on police procedure.

4 Issue 14 • FEB/MAR 2011 A writer friend who worked in a book- The most useful feedback has come to marvelous organization. The support store answered my questions when me from my test readers, my pub- and camaraderie in Storymakers is I created a protagonist who owned a lisher’s readers, and my editors. Specific amazing. We cheer each other on, bookstore. A kind ward member gave feedback is by far the most helpful, help answer each other’s questions, me many helpful details for creating such as pointing out where a charac- commiserate when someone gets bad the college professor in my upcoming ter needs work, or when something news, and generally uplift and sup- release. And so on. is unclear or not credible or repeti- port each other. The LDStorymakers I’m a combination of outline tive. When I get feedback, it can be Writers Conference is a superb event, and discovery writer. I need a broad daunting to dive in and see what my and I’ve enjoyed the opportunities I’ve outline to get me started, but I won’t reader/editor said needs to be ad- had to participate in the conference as know the details of the story until I dressed, but once I read the feedback, an attendee, a workshop presenter, a actually write the book. There’s no way get over any initial discomfort, and start panelist, and a “boot camp” instructor. I could come up with all those details seeing ways I can improve the book, I’ll be attending the conference for the and twists and turns in an outline— it’s exciting—I love to see a book get- third time this year, and I hope I can my brain doesn’t work that way. My ting better, and I’m glad to get honest attend every year. The conference is first drafts are an inconsistent mess as feedback that allows me to strengthen a top-notch, with fantastic workshops I work my way through creating the book before it goes to press. filled with information for both aspir- story, and I brainstorm a lot along the When a reader or reviewer criti- ing and established writers. It’s also way. If I change my mind about some- cizes a book after publication, it does a great chance to network with other thing I’ve written earlier in the draft, sting. As a writer, you need a thick authors and industry professionals. In I usually don’t go back and fix it—I’ll skin, but I’m not sure many of us actu- addition to the workshops, the confer- leave myself a note, but I want to ally develop that defense. You pour so ence organizers offer pitch sessions push through to the end of the draft. much into writing a book that when with agents and editors, both LDS I’d much rather have a draft to work someone posts a negative comment or and national market. I just can’t say with than a blank screen! How long it review, it hurts, even though you know enough good about the conference— takes me to draft a book will depend no author has ever written a book I highly recommend it. If you’re a on the book and how fast I’m working that every reader likes. Readers and new writer thinking of attending, my on it—I think my last one took me reviewers can have such vastly differ- advice is—go for it! You’ll have a great just under seven months to draft. And ent opinions on the same book that if opportunity to both develop your craft it was another seven months before I you took every bit of criticism to heart, and network with a wonderful group finished revising it. you’d drive yourself insane. Some of people who love writing as much as people simply won’t like your style, or you do. And at the conference, don’t be Writing mysteries and suspense your story, or your characters or what shy—introduce yourself to people and requires you to weave together some have you. You can’t please everyone. have fun. pretty complicated plots. How do you It would be impossible to single keep yourself consistent and make out one particular compliment as the You’ve won two Whitney Awards sure that the threads tie up nicely in biggest I’ve ever received. One thing for your novels Fool Me Twice (2008) the end? I’ve discovered since being published and Methods of Madness (2009). I do a lot of rewriting—going through is how much I appreciate it when What has that meant to you as the story multiple times. In fact, I love someone takes the time to say, “I loved an author? revising a manuscript; I enjoy revising your book.” I’m delighted when a Insecurity is a common ailment for more than drafting. reader tells me my book kept him up writers—you worry if a book will be On my recent manuscript, one late, or distracted her from other tasks accepted for publication, worry what of my test readers pointed out that because she just had to finish it—I fig- readers will think of it, worry what I’d never resolved a red herring issue ure if the reader is that involved in the reviewers will say and what sales num- that I’d raised. I’d completely forgot- story, that’s definitely a good sign! bers will be, worry if your next book ten about it! Thank heavens for test will live up to your last one or if fans readers. Tell us about your involvement in will be disappointed, and so on. LDStorymakers. What have you Winning two Whitney Awards What kind of feedback has been the gained from your participation there, was an incredible dose of validation— most useful to you as a writer (from and what suggestions do you have a group of industry professionals readers and from reviewers)? How for new writers who are thinking thought my books were award-worthy! do you take criticism? What is the of attending? That means so much to me, to know biggest compliment you’ve I joined LDStorymakers a few years they thought well of my work. ever received? ago and am so glad I did—it’s a

Mormon Artist Magazine 5 Talk about what you have done Study fiction technique. There are tons of fiction in many genres is now avail- to promote yourself, particularly of fiction technique books available. able from LDS publishers, and the through your website and through Two of my favorites are the aforemen- amount of LDS fiction available has your group blog, Six LDS Writers tioned The 38 Most Common Fiction vastly increased over the last couple and a Frog. Writing Mistakes (And How to Avoid of decades. My website contains news announce- Them) and Scene and Structure, both In the future, I’d love to see the ments and information about my by Jack Bickham. There are books on LDS market continue to grow and for books, including sample chapters. At dialogue, books on self-editing, books the genres available to continue to Six LDS Writers and a Frog (www. on description, and so on. Study, expand—I’d enjoy seeing more sixldswriters.net), we have a great study, study! science fiction. group of authors—Jeffrey Savage, Read a lot of fiction. Become I’d like to see LDS fiction become Robison Wells, Julie Bellon, Kerry familiar with the market you’re target- more widely known in areas where Blair, and Sariah Wilson. I blog on ing and what’s being published in that LDS brick-and-mortar bookstores Wednesdays, sometimes on writing- market. Research publishers—which aren’t available (which is most of the related topics, sometimes on what’s publishers would be the best fit for world). With the Internet, that’s a going on in my life. your book? If you’re targeting the greater possibility than ever before. Unfortunately, I am the world’s LDS market, you don’t need a literary I’m excited to see LDS publishers slowest blogger—it takes me agent; publishers deal directly with au- getting involved in the e-book mar- a long time to write a single blog post thors. If you’re targeting the national ket—my recent novel is available for (heck, it can take me forever to write market, research agents and figure out Kindle. Even though I don’t live near an email), so once-a-week blogging is who would be a good fit. an LDS bookstore, I can now down- all I can handle. Being part of a group Revise your manuscript. Polish it. load LDS fiction instantly at the click blog is perfect for me—I only have to Get outside feedback. Some writers of a mouse. cover Wednesday. I’m also on Face- find critique groups extremely help- book and Twitter. ful. I call on “test readers” to read my How do you see the gospel affecting manuscripts and let me know what’s your work? What are you working on right now? working and what isn’t. Make your Because of my faith in Jesus Christ, manuscript the strongest it can be I’m in the brainstorming phase right I don’t want to write anything that before you submit it. now, trying to create the basics of the endorses evil or makes it look attrac- Writer’s conferences can be very plot and characters for a new suspense tive. I think it goes back to Moroni 7, helpful as well as provide great oppor- novel. I hope to be ready to start writ- where Mormon teaches about the way tunities to network with other authors ing the story very soon. to judge—if something invites us to and publishing professionals. And you do good and to believe in Christ, it’s of What are some of your long-term can easily connect with other authors God; if it persuades us to do evil and writing goals? What are some things online and start getting established not believe in Christ, it’s not of God. you hope to accomplish through in the writing community—you don’t That standard applies to everything, your writing? need to wait until you have a book even fiction. published. I don’t think this means my books I’d like to write a novel for the national Be prepared to be patient and flex- all need overt religious content, but it market someday—I have an idea for a ible and to persevere when things get does mean that whatever messages I science fiction story. It would be fun to tough. The path to publication—and end up conveying in my novels need to stretch and try something new. after publication—can be rocky. But if endorse good, not evil. Through my writing, I hope to tell you love to write, it’s worth it. good, clean, engaging, suspenseful How do you see your work helping stories. I’ve always enjoyed reading What do you think are some of the build the kingdom? novels that grip me so hard that I don’t greatest strengths of the LDS market I think there is great value in good, want to put the book down, and I hope as it is right now, and what are some clean entertainment. My first novel, to write stories that will grip my read- changes you would like to see in The Believer, dealt with some deeper ers, giving them characters they want the future? to root for and plots that keep them themes, but my contemporary myster- The LDS market fills the niche of of- turning pages. ies are meant more as simply light, fering books specifically targeted to fun reads. If I can provide a source of What advice do you have for an LDS audience—books with LDS entertainment that is fun and exciting aspiring writers, particularly those characters or LDS themes, as well while keeping the standards outlined who are looking to be published in as books that are simply clean reads, by Mormon, I think that would be a the LDS market? devoid of offensive content. A variety worthwhile contribution. ❧

6 Issue 14 • FEB/MAR 2011 Image courtesy Stephanie Black

Mormon Artist Magazine 7 8 Issue 14 • FEB/MAR 2011

Photo by Val Hunter Ashley Smith

INTERVIEW BY ELSIE BOYER WEB: ASHLEYASMITH.COM

I noticed that on your website you say “#1 illustrator recommended by gypsies, and a close #2 by pirates.” I’m curious—how does one become recommended by gypsies and pirates? It is a very draining and difficult process involving intensive creative and physical tests. Normally the code of silence should never be broken regarding the details of said tests, but because I passed them with such high marks and have given back to the gypsy and pirating communities through portraiture and ransom notes, I feel I can be a tad more open about it. Let’s just say it calls for pillaging, plundering, and drinking lots of rum. Although they let me off on the rum Image courtesy Ashley Smith bit, seeing as I was Mormon and all. it carries an accumulation of all I have work hard enough to attain the best I Is there a particular piece that you learned and struggled through in its am capable of. consider your personal best? Why? structure and core. If I don’t get that But looking back, a few pieces are Usually I consider the very last piece I feeling, it’s probably because I didn’t more meaningful than others—like have done as a personal best because put enough of myself in the piece or the fireflies piece or the one with the

Mormon Artist Magazine 9 10 Issue 14 • FEB/MAR 2011

Image courtesy Ashley Smith Mormon Artist Magazine 11

Image courtesy Ashley Smith Image courtesy Ashley Smith girl looking to the sky with stars in the dramatically just by placing it beside I am veering further away from it now, shape of the Star of David. another color. I am enraptured by the but I still find myself using it from That last one was a book cover idea outcome of combining warm and cool time to time just for fun. for my favorite book as a kid, Number hues in artwork and what it does to the Stars, which became a very mean- your brain and your emotions. Some- Several of the illustrations on your ingful book to me. It’s very lyrical and how the contrast can create this amaz- website seem to be references to calm while also portraying a sense ing harmony that all humans relate to. fairy tales. What drew you towards of innocence. Opposition in all things, I suppose. this particular subject matter? The fireflies piece captured the Most of my work is just further- I was mostly interested in getting into essence of childhood and the imagi- ing the experiment with color that is the children’s book genre and felt that nation that always abounded inside constantly playing out in my brain and that subject matter was a good way to of me when I was a kid. Fireflies are transferring my thoughts or conclu- practice illustrating stories that kids wonderfully whimsical. sions on the matter to paper. I think would enjoy. Taking a well-known some of the strongest emotions, learn- story and putting my own twist on it In your illustrations you seem drawn ing opportunities, and knowledge I helped me stretch to see if I could ex- towards creating vibrant pieces with have gained were influenced by color. pand a child’s mind. Books always did heavy outlines around most of the It constantly fascinates me. that for me as a kid, and I love how I objects. What do you like best about As far as the line weight goes, I could escape into a whole other world creating and designing in this style? was fascinated with the silhouettes just by picking up a picture book. Also, I am obsessed with color. I love the of objects for a while. I think I used it most fairy tales are ridiculous stretch- way that hue, temperature, and to help draw attention to the things I es of the imagination, which my brain intensity of any pigment can change thought were important in a piece. can relate to.

12 Issue 14 • FEB/MAR 2011 When did you begin to define yourself as an artist? I defined myself as an artist very early on. I wanted to be one as long as I can remember, pretty much straight from the womb. My grandmother was a great artist along with a few of my sisters. Along with very supportive parents and friends, they always encouraged and indulged my creative tendencies. I have sketches from when I was really young and would always draw in class all over assignments, books, and worksheets. The stegosau- rus was a common theme in elemen- tary school, and then that grew to other fanciful creatures, giraffes most recently being a favorite. Being an artist has always been a big part of who I am and what I strive to become.

What have been some of your inspirations in your work? Music is a big inspiration factor for me. I am always listening to something and I find that inspires the most creative juices to start flowing. Also, clever filmmaking, photography, and painting outside of my genre are things that feed me. I love art in all forms and like to saturate myself with it.

How have you been able to balance everyday concerns with artistic creativity? Finding the balance of work and life with creative endeavors is a never-ending struggle. I work to keep as much structure in my life as possible so that stress is not getting in the way of being able to find inspiration. Also, keeping a vast supply of chocolate and Cary Grant movies on hand seems to calm any and all of my concerns. Everything is easier with chocolate. And everything is easier (especially on the eyes) with Cary Grant in the room.

What’s your artistic process? I begin in lots of different ways, gath- ering reference and information and inspiration from lots of various sources and then I just start sketching. I call it sketch vomit. Gross, Image courtesy Ashley Smith

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Photo by Val Hunter Mormon Artist Magazine 15

Image courtesy Ashley Smith Image courtesy Ashley Smith

I know, but usually it takes a bunch of God, influences every decision I make, I find it incredibly simple to balance really bad ideas to get out of my head especially the creative ones. I had a the two. In fact, if I didn’t have the before I can grasp at any of the good professor in college who taught me inspiration and influence of the Spirit, ones. After they spill out all over my that everything I express through my I don’t think I would have nearly the sketchbook, I can then narrow it down art is connected somehow to me, and amount of knowledge or motivation to something pretty. Then I take that that in that expression I should strive that I have. I attribute all those things idea, feed it, nurture it, sometimes to always define on the outside who I to God. sleep on it, and develop it until it am on the inside. I believe that whole- produces wonderful idea children that heartedly. How do you see your art helping are better and more beautiful versions I feel that being true to myself and build the kingdom? of their parents. This usually involves my core beliefs is what I endeavor to I use to plague myself with the question lots of tracing paper or a light board. show most in my artwork. I guess that of why God has given me the desire, When I get to a final sketch I either just shows what a kid I am still motivation, and drive to be a creating scan it into the computer to be painted at heart. soul. Why, of all things to be blessed in Photoshop, or my favorite, I transfer with, have I been given this? Is what I it to a board and paint directly on top What other artists or paintings have am doing really helping bring about his of it with acrylics. I will usually finish inspired you? work or is this desire a selfish motiva- it off digitally or with some oil paints if I absolutely adore the golden age of tion of mine to pursue happiness? I need a little extra push. illustration from the masters Norman It was a difficult question to an- Somewhere in the middle there are Rockwell, J.C. Leyendecker, Howard swer. But then I decided that creating explorations with color, which helps Pyle, and N.C. Wyeth. Their ability to beautiful things has slowly become my me pick a scheme, and also a value tell a story has always been inspiring way of glorifying God and giving back study to make sure the mood and to me. Also modern illustrators such to Him in an aesthetic, albeit small lighting are just right. It looks really as Jimmy Pickering, Robert Macken- way that I can. What I do is consid- ugly until about the last 10% of the zie, Jim Madsen, Guy Francis, Brandon ered, by some, a frivolous or luxurious job. That’s when the magic happens Dorman, Dani Jones . . . the list could part of life—that art is not a required and the illustration fairy comes in and go on and on. I also have always loved aspect but just something nice to have tweaks it all. I pay her the big bucks. John Singer Sargent for his ability to around. We aren’t doctors, teachers, or express just exactly the amount of in- politicians, who have such an obvious Could you explain what it felt like to formation necessary with the minimal effect on people and the world. We are, sell your first design? amount of brushstrokes. His work however, creators, which can have a Glorious. Like eating mint choc chip is beautiful. tangible effect on the soul. I think that ice cream right after riding my favorite can sometimes be more important. A rollercoaster. The best part was seeing How do you balance being Mormon lot of my beliefs about God and the the happy recipient’s joyful face. That and being an artist? gospel are strengthened and reassured is worth more than the money. My beliefs in the gospel are parallel to through art because I feel it brings a many of my beliefs about the process connection to Him that I cannot ma- How has the gospel influenced of creation; therefore, I find the two terialize in any other way. And if I can your work? weave throughout the core of my create that feeling for someone else, Knowing the things I know, living the character. Being a Mormon and being then I consider my life’s work success- way I do, and making the constant an artist are intertwined as much as ful and a good way to show God decisions to try and align my life with eating and sleeping into my life, so my devotion. ❧

16 Issue 14 • FEB/MAR 2011 Mormon Artist Magazine 17

Photo by Val Hunter © Rebekah DeRosa 2011

Robert DeRosa

INTERVIEW BY LIESL HANSEN WEB: DEROSAIMAGES.COM

18 Issue 14 • FEB/MAR 2011 © Robert Anthony DeRosa 2010–2011

You mentioned that you’re a career numbers of people lost their jobs. I me to pursue my passion and my changer. How did that happen? was one of them. The obvious path dream. I decided to go back to school I had photographed since I was ten would have been to look for another and earn a master’s degree in digital years old and had a steady interest job in financial services, but many photography at the School of Visual in it over the years, taking continu- other companies were in a similar situ- Arts. Because I had thirty-two years ing education courses when time and ation and my age would have added to of service at my last job, my sever- money permitted to further develop the difficulty of a search for a new job. ance package was sufficient to put me my skills. I had always hoped that one During my career I had reinvented through school. day I might be able to pursue pho- myself several times, so rather than During the same period, my father tography as a career. A combination dwell on the problems, I decided that passed away and there were two family of factors (most of which I would not this would be a good time for one members he cared for who no longer have chosen) made that possible. more reinvention. had caregivers. We moved to his home The financial crisis hit the firm I Knowing my love of photography, to assist them. An unintended by- worked for particularly hard, and large my wife and daughter encouraged product of that was that it brought me

Mormon Artist Magazine 19 © Robert Anthony DeRosa 2010–2011

20 Issue 14 • FEB/MAR 2011 physically closer to school and reduced to inspire me, energize me, and focus without the distraction of the traffic my commute and other expenses. my attention on work that I loved and and people that will fill the area dur- Finally, the chair of the depart- had long dreamed of doing. Attitude is ing working hours. The streets of the ment I applied to in grad school critical at a time like this. city are quiet and mostly empty. It is decided to take a chance on me based contemplative work that is renewing on my life experience and my portfolio How has your pursuit of art changed and energizing. even though I didn’t have an under- your life? Whether I am shooting beauty graduate degree in photography. I’m My workday is more solitary and more that is often passed by or decay and deeply grateful for her faith in me. under my control—two things I enjoy the seamier side of the city, the work So the stage was set for me to in my work. Since I shoot fine art is an act of creation in a small but go back to school, earn a graduate urban and industrial landscapes, most significant way. And when I do my job degree, and build the skills and the of my work is done in the early morn- well, people want to talk about it and contacts necessary to launch a career ing hours before and after sunrise so debate what they saw in it and what it in photography. I can capture the essence of a place means to them.

What was going back to school like? Quite the adventure! I was older than most of the students by at least a factor of two and older than just about all of the instructors. I hadn’t been in a formal academic setting in almost thirty-five years. But I had done a brief stint in graduate business school and continuing education in photography as well as ongoing professional training, so I wasn’t entirely out of practice. My thirty years of working with youth and young adults in the Church helped a lot, too—it helped keep me current with my computer and social networking skills, and it taught me to how to establish fun, productive relationships with folks many years my junior. I did have a lot of catching up to do with classmates whose photography skills were more developed than mine, so I had to put in some very long hours to read and apply the skills we were being taught. It was not uncommon for me to spend sixty to seventy hours a week or more to complete my class work and assignments. My parents and the Church taught me to work hard and I have always been a high- energy person, so the grind was tiring but not overwhelming.

How did your photography help you cope with the loss of your job? Instead of dwelling on the negatives of losing a job and all the challenges of finding a new one in a down market at the age of sixty, photography helped

Mormon Artist Magazine 21 How did your background in What was the most challenging Looking back from the vantage point finances and political science aspect about completely changing of thirty years later, it is easy to see influence your art? your career? the Lord’s hand in my coming to the My experience in financial services has Being self-employed was perhaps Church. I can trace some of the begin- mostly helped with the business of the the biggest change. All my life I have nings of it to many years before art—the marketing and promotion worked for either large corporations I actually came into contact with of my work and the development of a or government. I learned how to lead the Church. business plan. I think that if I succeed and succeed in large organizations, A close friend who I first knew in in this business, it will have as much both public and private. Now I do not college joined the Church several years to do with my business skills as it will have the infrastructure around me. If after graduation. He was the first to my talent for creating interesting and something needs to be done, I am the talk to me about the gospel. I was slow beautiful art. one who has to find a way to do it or to respond for a variety of reasons, My political science background get it done. It is both empowering and mostly having to do with pride. This has informed some of my recent work a little overwhelming. friend also got to know one of my as I explore the love/hate relation- roommates, who was more receptive ship that we have with industry and Tell us how you came to join to the gospel and was baptized rather consumption. the Church. quickly. Both of them patiently and persistently kept talking to me about the Church and invited me to participate in Church activities. Eventually, two missionaries were transferred into the area where I lived and I struck up an instant relationship with them. We are still in touch today. They taught and boldly challenged me to be baptized much earlier than I thought they would. I was faced with a decision. I chose to fast and pray and I received my answer. Long story short, be patient, be persistent, and don’t give up on your friends.

How has the gospel influenced your work? It has helped me to trust that I can turn to the Lord for help in making

© Robert Anthony DeRosa 2010–2011 decisions and seeking inspiration regarding my career, my projects, and even the individual images I create. I feel very strongly that he is a loving and supportive partner in my artistic creation. I believe he has placed among my circle of acquaintances teachers, mentors, friends, and most importantly family who have influenced me in positive ways and encouraged me in my work. Specifically, the Lord is helping to shape my vision of a new project I’m currently researching related to some of the Savior’s teachings and the visual imagery he used.

Is there a particular piece you consider your best? Why?

22 Issue 14 • FEB/MAR 2011 © Robert Anthony DeRosa 2010–2011

Mormon Artist Magazine 23 © Robert Anthony DeRosa 2010–2011

24 Issue 14 • FEB/MAR 2011 © Robert Anthony DeRosa 2010–2011

Mormon Artist Magazine 25 That’s a little like asking which of eye to the congested skyline of Lower close-ups, details, panoramas, brack- my children I love the most. I love Manhattan. eted exposure of the same scene that them all for different reasons. People will later be combined to get a more have responded very positively to What made you decide to do faithful representation of what my eye the images “Two Bridges” and “Field urban photography? saw than a single exposure can com- of Dreams—NYC.” The first because I have always been a landscape pho- municate. I climb on top of things, of the many different aspects of the tographer. I knew that from my earli- crawl under things, hang from fences image that attract your attention: the est years. I would come back and show and lampposts and enter any industri- tessellation, or repeated forms, in my pictures to my parents and my al location that people will not chase both the lower and upper fences, the mother would say, “That’s nice, dear. me out of. I follow where the work horizontal rails that lead the eye up to But where are the people?” I live in leads me and persist until the body of the Brooklyn Bridge, and the trian- New York City and so my landscape is work feels right—feels complete. gular hole in the fence that mirrors made of concrete rivers, glass and steel the pyramid formed by the tower and mountains, mechanized wildlife, and What are your favorite subjects cables of the bridge. tumbleweeds of litter. My landscape to photograph? I particularly enjoy the lesson is the urban landscape. That’s where I The infrastructure that supports the this image taught me: to continue to live and that is what I shoot. city: the industry, its architecture that observe. I came across this hole in the lifts our vision, the bridges that con- fence that someone had cut to shoot What inspires you in your work? nect us, the transportation that deliv- pictures of the iconic skyline of Lower Seeing and observing. I mentioned ers the goods, the refuse and byprod- Manhattan. I took several pictures earlier that I seek inspiration for my ucts—all the stuff that is the lifeblood through it. Then, as I was packing up projects through study, research, and of a large metropolitan area that we my gear, I turned and saw that the talking with the Lord. Then I get out pass by and ignore as we go about our hole was more interesting than the and visit locations over and over again. busy lives, oblivious to what supports pictures I was making. Keep observ- The first visit gives me an idea of the densely populated cities. It has its own ing, keep looking even as you are leav- main subjects I’ll start the project with beauty. In the early morning light of ing a location. and what equipment I’ll need. The sunrise when the streets are empty and The second seems to touch people easy images come from these visits. we can see more clearly, it is alternate- with the contrasts of this colorful They are rarely the ones that make ly beautiful and a little creepy. and quiet baseball field surrounded the final cut. Then the work comes by the densely packed buildings and in. I start shooting and more carefully Are there any particular parts of New flanked by the FRD Drive leading our observing the scenes—wide angles, York that you just love to go to? I keep coming back to Brooklyn, where I was born and spent the first twelve years of my life. It is so diverse, vibrant, and complex that I never seem to run out of material to photograph.

What are some challenges that come with doing urban photography? The things that I love to photograph are usually obscured by traffic, people, and the day-to-day chaos of the workday. So if I want unobstructed views, I need to do it in the hours just before and after sunrise. Saturday mornings are best. I do not shoot on the Sabbath. The Lord knew what He was doing in creating a day of rest. It refreshes and recharges me. I concentrate on other spiritual things and service that fill my reservoirs of creativity. So Saturdays are prime time. Of course, Saturdays are also prime time for household and family chores,

26 Issue 14 • FEB/MAR 2011 © Rebekah DeRosa 2011 so I need to push through the fatigue me the flexibility to do many survived and thrived for more than of having risen at 4:30 and photo- different things. 100 years in a cityscape that seems graphing for two to three hours and to change every day. Calling people’s make sure that there is enough time What’s the most rewarding part attention to these structures spurred for the family. about your work? some thought and hopefully became a The reaction of visitors at an exhibi- metaphor for how we can be resil- What are you working on now? tion or the discussions my images ient, endure through trials, remain I am working on two things. One proj- generate when I post them to my blog confident and beautiful even when ect is called “Industrial Strength” and or Facebook or Flickr. I am fascinated the world sees us as old-fashioned or deals with the love/hate relationship to hear what others see in my images out-of-date, and evolve throughout that we have with industry and con- and how they cause people to think our lives. The project had many lives as sumption. I shoot these images in the about or see things in a new way. large prints and even fine art postcards sixteen Industrialized Business Zones that were sent to people around the of the city. The other project is still in How do you see your art building the world to share their thoughts and mes- the research stage and deals with the kingdom? sages. One project with a simple theme visual imagery used by the Savior in I hope my art connects people and connected people around the coun- his teachings. teaches gospel principles without be- try and on four continents to share ing “preachy.” For example, my thesis thoughts that were exhibited for many What kind of camera do you use? project, “A Walk Across Time,” dealt others to see. So teaching gospel prin- A Canon 7D. It’s light, quick, and with the enduring beauty, resilience, ciples and connecting people is what I shoots stills and HD video, so it gives and evolution of buildings that had hope my work ultimately does. ❧

Mormon Artist Magazine 27 28 Issue 14 • FEB/MAR 2011

Photo by Tiffany Tertipes Janice Kapp Perry

INTERVIEW BY MYRNA LAYTON WEB: JANICEKAPPPERRY.COM

What was the first song that About that time I had an injury Women started asking me to write a you wrote? that was kind of serious. I was getting theme song for them every year, so older—I was almost forty—and my I did that. And then the women for The first thing that I wrote was just husband felt like maybe I shouldn’t Relief Society. for my son Steve to sing in church. He play ball anymore. He had been very Right now I am totally immersed said, “I’ve been asked to sing in sacra- supportive, but my injuries were get- in writing a Book of Mormon musical ment meeting and I don’t like any- ting more serious. fireside that choirs can put on. It’s an thing.” The only pieces then by Church While I had my foot in a cast from hour long, and it’s for CES choirs and authors were kind of old-fashioned a broken ankle from playing basket- youth choirs. Sometimes I’ve written and he was fifteen. ball, the bishop asked me to write our musical stage plays—we’ve toured the So one day when Doug and the ward roadshow music. It just sounded U.S. for three years. That’s how I got kids left, I decided to try to write one. I like a fun challenge. I did it. I knew by started: just writing that roadshow and wrote a poem called “I’ll Follow Jesus” then that I wanted to write music and writing a song for my own son to sing and wrote the music before they got that it was time for a change. So I just in sacrament meeting. home. Steve liked it and sang it in looked at that little piece “I Am a Child sacrament meeting. of God”—how much I loved it, how How did it morph from that to having And I thought, Oh, that was fun, I much it helped my testimony—and I songs in the Children’s Songbook? want to keep on. I just started writing. set a goal to add to the simple music of That’s a good question, because I I had my training at BYU earlier, but the Church. think a lot of people felt impressed to I had been so heavy into sports my I happened to get a lot of assign- write children’s music before the new whole life until that point, that if I had ments right then to write children’s Primary book in the 1980s. We didn’t any extra time I was pitching softball music in my own ward or stake, so I know it was coming—we just felt that or playing volleyball or racquetball. did that. And then the stake Young impression to write.

Mormon Artist Magazine 29 In my case, when I had sev- some of them in. We did a Young So that’s usually the way that you do eral songs written, I sent them to the Women’s album. Then Ardeth Kapp it? You approach the words first? Church and said, “Does the Church asked me to write the theme song Most people do. Unless you have the have any use for these?” They get so for the values. That was really kind words, how do you know what kind of many things, and the Church music of a turning point, where I focused music to write? chairman wrote back and said, “Just on Young Women for quite a while. I There are a few people, like my brighten your own little corner of the wrote a song for every value after I did sister, who do the music first. But she world. Work with your family, your “I Walk by Faith.” doesn’t write her own words—some- ward, and your stake.” So that’s exactly Then the Primary, just before one else does. Maybe that’s why it what I did. He said, “If they should our mission, asked me to write two works that way. have value, we’ll hear about them.” more songs for them: “Holding Hands And that’s what happened, too. People Around the World” and “I’ll Follow You and your husband served a who I wrote the songs for sent them Him in Faith.” Spanish-speaking mission. Was it a in to the church and said, “This really I thought, well, the General Relief music mission? worked well for us. All the Primary Society has never asked me to write It was a proselyting mission in Santia- children should sing this.” That’s how a song for them. Then they did—just go, Chile, and there were three aspects it started. after I thought it! Sister Parkin asked of it. We visited inactives, because I think other people were sending me to write a new song for women and Elder Holland was there stressing that them in, and—I don’t know—they it was sung on two satellite broadcasts: at the same time. And my husband started looking at them seriously, and “When I Feel His Love.” They did it was in leadership in the district. when they had the Children’s Song- two years in a row for some reason. But then we started developing book, they used all the ones that I had When you write for the Church, choirs and teaching music classes, written. Plus they asked me to write a you have extra help. It just really hap- keyboard, and conducting, and I’d say few more for it, so there are ten in the pens. It’s sweet when you get those for the last nine months of our mis- Primary book. And that was a big part assignments, but they are few and sion, that was pretty much what it was, of what I did at first. far between. just getting all the music into them Elder Maxwell said not too long that we could. before he passed away, “Back in my Do you ever get writer’s block? Because they didn’t have key- day, we used to sing ‘Little Purple Yes, almost all the time. The lyrics are boards, they’d developed their own Pansies,’ but these are the latter days, the hardest part for me. I’ll spend a way of singing the hymns, which was and now we’re singing ‘I’m Trying to week or two, sometimes, writing the interesting. When they asked us to Be Like Jesus.’ We’ve got to get serious.” lyrics, and then two hours writing the form a choir, we could hardly get them Without a doubt, six of my Primary music—because when you are writing singing unison, because they would songs are what I am best known for. the words, the music is taking shape in sing it a cappella in a low key, and they And then I started writing for your mind, too. couldn’t go low enough, so they would Young Women every year and sent invent a melody, and they had kind of settled on it. We got keyboards in all the classes and graduated twenty-four from our conducting course and our keyboard course. By the time we left, all the wards in two stakes there had people who were playing the simplified hymns and conducting. And we had four choirs that we developed—a youth choir, a young adult choir, a district choir, and a missionary choir. It was just our mission from then on. And then we came back here and we missed it so much that we just begged for a call to a Spanish ward here, so we were there three years and we did the same thing—we taught the conducting course and the piano course, and we developed a nice ward

Photo by Tiffany Tertipes

30 Issue 14 • FEB/MAR 2011 choir, which was really exciting. They love to sing! You tell them there is a choir practice, and you’ve got forty people there without batting an eye. That’s not how it is here. When we were going to leave that ward, and I knew we were going to be released, I thought “Who is going to play for primary?”, because I had done it. So I chose four really sharp little kids—they were about eight and ten years old—and I told their parents, I will give them free lessons from the Church course if you will make sure that they come every week and that they are prepared. I won’t charge you anything. I will even buy their music. So I simplified the eight pieces for the Primary program, and at the end of that year, those four students played for the whole sacrament meeting program. They just played very confidently. It was one of the most rewarding things that I’ve ever done, and I don’t mean monetarily. This is three years later and they are playing right from the hymnbook, and the Primary songbook. Some of them are in English wards now, but they are playing for sacrament meeting and for the Primary program. In fact, they were even featured on the front of the Church News. I just love those four kids so much. They are like my own grandchildren. I’d still like to be on Photo by Tiffany Tertipes another mission somewhere doing singers in Spanish here—we really every night. I read the Liahona, all the that—teaching music. We’ll see how have good vocalists. talks in Spanish, between each confer- our health is. After the mission, we knew we ence. Sometimes we give firesides needed to continue, because we knew here, too, in Spanish, because Doug Did your work on your mission and their need of it there. And so we’ve is fluent in Spanish. I recorded just in the Spanish ward have anything to done four more albums. We market one album in English where I did the do with your songs being translated them here somewhat, but we also singing, which was an act of bravery, into Spanish? take them down—we have people but later, I did it in Spanish, after our Several years before we left on our in Mexico, Chile, and some other mission, too. We hope to keep getting mission, we realized that Spanish was places that market them at a very low more things in Spanish. the coming language here. And they price for their people. The albums had none of their own LDS music. We pay for themselves, and that’s all that Are any of your songs more dear to hadn’t thought about our mission be- we care about. We don’t try to profit your heart than others? ing Spanish yet. from them. We use our same English Oh, I definitely have my favorites. I So, we just hired a wonderful soundtrack so it’s not as expensive, we think the one that means the very translator from the Church, Omar just add the singers. most to me is “A Child’s Prayer.” It’s Canals, and we had translated and re- Yes, our hearts are in things Span- the one I get the most reaction from corded four albums in Spanish before ish. I go to the Spanish temple session other people, too. There are days in our mission, using all-native singers. every Saturday, just to keep up, and everyone’s life, when you feel like, There is a wealth of really wonderful I read my Spanish Book of Mormon “Heavenly Father, are you really there?

Mormon Artist Magazine 31 32 Issue 14 • FEB/MAR 2011 Mormon Artist Magazine 33

Photo by Tiffany Tertipes Do you hear my prayers?” I hope it is And then I had a stroke in 2006 I started applying for grants. I answered well in that piece that, yes, which affected my right arm and leg. I did get one grant that allowed me to when you pray, he is there. When I still can’t even feel when my foot’s on record a brand new album at the end first wrote that song, I wrote it in first the pedal for sure, but I do have feel- of last year. I just really feel good about person—the Lord was saying, “Pray, I ing in my extremities—my arm and that. I am working on a grant to cover am here.” Then I thought that it was leg are numb, but my fingers are fine, this project we’re working on, trying to going to limit who could sing it. The and I’ve just developed a way to play. have faith, because we have our things Church wanted me to change it, too— It looks weird—people comment on it, out on digital downloads and that they said to have it be like a parent “Is that a new technique?” helps a little bit, but it doesn’t provide answering the child: “Pray, he is there.” the income to pay for your next proj- That was a good suggestion. What about music for the ect. It just doesn’t. I love the Primary songs. “I’m Try- non-LDS audience? So I’m trying to do things now with ing to Be Like Jesus” means a lot to me. We did one album of gospel music, no thought of making income or prof- “The Test” means a lot to me, too. where we made sure we didn’t put any- it. But I’m having to find a way to get I lost the use of my left hand when thing strictly LDS into it, and that was them financed. And to me, they can I started writing music. My three fun too. It was “My God is Love.” just be a gift. We can retire—we are in middle fingers pull under and the Earlier I did a collaboration with our seventies, and we’ve been wise in wrist pulls down when I try to play, so Greg Hansen, in which really I did saving our retirement, so we can just I went to forty specialists, and no one nothing, but I took all the old gospel quit. But if I can get a grant to con- had an answer for it—they just didn’t songs—somehow I grew up knowing tinue—and I have gotten one—then I know. So I’ve had to play that way for them, many of them from the Baptist will continue, because what else would about thirty years. hymnbook, and some others—and I do? It’s what I love. And it’s what my The last person I went to was a he orchestrated them and had people husband loves. This morning he took blind doctor and I kept complaining sing all those old-time religion pieces. my scribbled copy of a new arrange- to him. He was an osteopath, trying That’s still an album that people enjoy. ment of a Book of Mormon piece for to figure out some kind of physical It’s not for just our Church—we didn’t this project down to his office, and he therapy. One day I realized the irony put anything on it that conflicted with entered it in the computer—they call of my complaining to a blind man. our beliefs, but most things don’t. it engraving—and engraved it beauti- He said, “Well, I wanted to help your The patriotic albums really hold fully for publication. And this is what hand, but I guess I can’t. But I can help a special place in my heart. I loved we love, so much that we will continue you learn to accept it more gracefully, writing them. And they’ve probably doing it, even if it’s a donation some- and to know that someday there will been sung at bigger places than any where. That will be fine. We’re trying be a restoration, whether it be in this others. “Heal Our Land” was sung at to do more of just donating whatever life or the next.” He helped me so George Bush’s second inauguration we can, for the Church, or to these much that I wrote the song for him. by a black minister at the National piano students. Just whatever we can, “Please tell me, friend, why are you Prayer breakfast. It was even sung which is fine, but I won’t quit writing. I blind? Why doesn’t he who worked on the Oprah show on 9/11. And the hope I have another decade to write. miracles send light into your eyes?” Mormon Tabernacle has done it, too, There have been so many albums And then his reply, “Didn’t he say he arranged by Mack Wilberg. I love the made during the last few years that are sent us to be tested?” patriotic songs. one-time albums, because they can So, personally, that song means a never recover the costs for them. With lot to me. I wasn’t even going to put it Are you satisfied with what you’ve ours, we started when almost no one on a CD, and then someone said, “Oh done with your talent? was writing, just Lex de Azevedo and I, you should do it—everyone has trials.” Yes, I am, except that I want to essentially, and it was a novelty to have I do three verses on different subjects: keep going. music out by LDS composers. People the first one is about him, the second You know, the music business has bought it, and it made it possible for verse is about me and many others really changed. Many composers and us to do another and another and an- who pray for healing and it doesn’t people involved in any aspect of the other. We have almost eighty albums come, and the third is someone who music business have really been affect- and it was never a problem for us to fi- loses a loved one. There was an LDS ed severely, like everyone else in the nance them, because we recovered the station here at that time, and they’d economy. With digital downloads and money and went on to the next one. have the LDS hit parade, and it was people burning discs for friends, and We can never do that now. We’re number one for almost two years. So it Deseret Books promoting primarily all having to try to find other things to really filled a need for somebody. It did their own artists, we haven’t even been do. People buy CDs if they see them me. I wrote it to help me understand. able to record for a couple of years. there in the store—they won’t special

34 Issue 14 • FEB/MAR 2011 order, how will they even know about it if they don’t see it? People need to be able to see that something is available, and then they do impulse buying. We do all the advertising that we can afford to do, and so we recover partial cost on that album. I wish that stores would carry even our top twenty. Before things changed, even our first album was still selling after thirty years, but if the albums aren’t there on display in the LDS bookstores, then . . . we’re done. People buy what they see. It is really hard. One thing that helps us to get things out expeditiously is that our son John works for us full-time. He does all the business side of things. I write the music, my husband takes it down and prepares it for publication, and John designs the covers and does all the duplication, the publishing, distribution, taxes—everything that the business entails. We have it all Photo by Tiffany Tertipes right here, so all we need to do is take our master to have the CDs duplicated. if we used your song ‘Love Is Spoken one hymn? They’re hard. They’re dif- It helps us that we’ve always had our Here’ as the title song for our new ferent. You’ve got to get all the voice family totally involved in it. We’ve album? And we’ll also put ‘I’m Trying leadings and . . . ” and he said, “I’m just done eleven different albums for our to Be Like Jesus’ and ‘A Child’s Prayer’ telling you. It’s up to you—take it or son Steve and two for our daughter on it. Would that be alright?” I said, leave it.” I was singing in the Mormon Lynne, who is a wonderful writer/ “Craig, I’ve got to share with you my Tabernacle Choir, and a friend, John composer. So it’s very much a family original goal: it was that the Primary Pearson, started giving me his poetry, thing, where everybody has the talents children would someday sing one of which was really hymn text poetry. He to get a whole project done. We used my songs. I could never have imagined and I wrote eighty hymns together, to have to go to a design artist for the this!” I write for Meridian Magazine, and sadly, he passed away last Sep- covers, but John now does it all on his and this year I wrote on setting goals tember of colon cancer, and so that’s computer. It’s really beautiful. and how it helped me to write down the end of that. I think he was the best I just have such a feeling about and have that thought in my mind hymn text writer in the church. Man, what the music means to people. After and work toward it. I was just dumb- I miss his beautiful writing. But we literally thousands of letters saying founded to think I had come that far— have these five little hymnbooks, each “this song helped me in this situation, to have the title song on a Mormon with thirty-five hymns, so I’ve gone this song helped me come back to the Tabernacle Choir album! way over the hundred, and we keep Church,” it’s just constant—you get a I love just writing about my experi- the price really low so that choirs can sense of mission. And that’s the reason ences in my own life, because when afford them. I don’t want to stop. There will always you have experienced something, you I loved writing hymns. I’m kind of be a need for people to have good can be pretty sure that a whole lot of through with that phase, and now I’m music that uplifts them. I hope we can other people have, too. And when you doing this hour-long Book of Mormon find a way to keep going. write about something real in your program with a sister from Colo- When I started out, here is my goal life, there is a difference from if you sit rado who is writing the lyrics—very that I wrote down: “I hope someday down and try to write a nice song. scriptural lyrics—and Merrill Jenson the Primary children will sing one of I’ve done five little volumes of is going to record it. I finished the last my songs.” That was my goal. hymns in the last while. My husband arrangement this morning just before A couple of years ago Craig Jessop said one day, “I feel strongly that you you got here. called from the Mormon Tabernacle should write a hundred hymns.” I was So, different times I like to go dif- Choir and said, “Would it be alright dumbfounded, and I said, “How about ferent directions—they’re all good. ❧

Mormon Artist Magazine 35 Photo by Lizzy Bean

36 Issue 14 • FEB/MAR 2011 Eric Samuelsen

INTERVIEW BY MAHONRI STEWART

Tell us how and why you got involved performance and watching all the I cut away the rest of the skin, so it in theatre, specifically playwriting. water turn brown from my makeup. I wouldn’t look like a swastika anymore. What was that journey like? In what remember thinking how cool that was. But when I got to high school, ways do you think you have matured In junior high I was a total mess— two teachers saved my life. One was and changed as a dramatist since that’s not unusual of course, but I had an English teacher named Kenneth your beginning days? the horrible experience bad junior Mann who thought I had potential My father is an opera singer so I high experiences measure themselves as a writer and put me in a creative grew up with theatre in my blood, against. I remember vividly the day writing workshop he taught. The other really. I made my stage debut at a very two thugs took me behind the gym was the typing teacher—yes, high young age—six or seven, something and carved a swastika on my arm with schools used to offer typing and filing like that. I played a street urchin in a switchblade. I couldn’t tell a teacher as a class—who was an opera buff and a production of Peter Grimes. I got or my parents, I thought, because they knew of my father and got me involved to wear body makeup, and I remem- might think I wanted a swastika on my in the school choir. So I got involved ber sitting in the bathtub after each arm. So when I got home from school, with choir, went from there to theatre,

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Photo courtesy Spencer Hall wrote a column for the school newspa- I wrote the libretto for Emma, which taught playwriting, moved up to the per, and became editor of the school the music department produced U of U, and I became a full-time play- creative writing magazine. Basically, and which eventually made its way writing teacher. Then, around 2003, I I found my niche. So when I went to to a New York production and a rave discovered Plan B Theatre in Salt Lake, college, playwriting seemed like a review in Opera News. So BYU kind of and I’ve written for them quite a bit as natural next step. launched me. well as for LDS audiences in Provo. After my mission I enrolled in I then decided to go to grad school. Charles Whitman’s playwriting class. I went to Indiana and worked towards Tell us about your personal world- Apparently the department chair, a Ph.D. in Theatre History and Criti- view. In what ways do you feel like Charles Metten, had an idea for a play cism. It took me nine years to com- you are in sync with your Mormon and asked Dr. Whitman if he could plete, during which time I worked at culture, and in what ways do you recommend a writer. So I was called a pizza restaurant and became a radio feel like you diverge? How is that into the principal’s office—that’s how guy working for the local PBS station, reflected in your writing? it felt, anyway. I was scared to death, WFIU, as an announcer. I had a sports Well, frankly, I’m kind of a bor- but Dr. Metten said I’d come recom- show on Saturdays, and I also wrote ingly conventional Mormon in most mended as the best young writer in the and hosted an on-air call-in game respects. I love the Church. I love department, and he had this play idea. show called Ether Game. I can well the gospel. I love the idea of eternal He’d provide the storyline and I’d fill imagine an alternate universe where I progression. I love the atonement. I in the dialogue, then he’d put it on the went into radio professionally. love the possibility for repentance and season and direct it. The result was a I also took all of Sam Smiley’s play- change the gospel provides. play called Letter From a Prophet and writing classes. Sam wrote the book The thing is, I’m a writer and a was about Joseph Smith in Liberty Jail. I Playwriting: The Structure of Action, theatre guy—an artist. My brother’s a pulled it out a year or so ago and reread which was then a standard textbook in businessman; he’s a very conventional it—it was shocking to me how little I the field; it took a very Aristotelian ap- Mormon, but he also sees the world remembered of it. I kept thinking, “I proach to playwriting. I liked Sam per- from a business point of view, so his wonder what’s going to happen next?” sonally a lot, but I didn’t really connect worldview is a mixture of the gospel The play was pretty bad, of course, to his approach for some reason. One and business. I’m an artist, so my view but that didn’t matter much. I learned of my fellow students, Ron Dye, start- is sort of half-LDS and half-artist. so much from the experience. I ed a theatre in town called Blooming- Does that make sense? learned how to build a scene, how to ton Playwrights’ Project, which is still So for me Art is tremendously create a character through dialogue going strong today. I did a few things important. I tend to think that there’s and action, how to connect moments for them, though mostly as a director, no such thing as “worldly” art, or art to create suspense and interest. I’ve not really as a writer. They did one play that’s inherently damaging spiritually. always been grateful to Dr. Whitman of mine, Sex and the New York Yan- Most works of art that some people in and Dr. Metten for a tremendous kees. There’s a story there—three of us the Church might regard as “question- learning experience. writing students at BYU had made a able” I tend to embrace. Often works Anyway, in college I worked with pact that we would all write a play with that my brother might find troubling both Dr. Whitman and Max Golightly, that title on the subject of “things that really speak to me. Art is testimony. who taught playwriting, and then I are overrated.” Turns out we all did it, Art is one person saying “this is what took an advanced writing seminar too. But otherwise, I felt really lost as a world looks like from where I stand.” from Orson Scott Card. Scott was a writer. I couldn’t find my bearings. I just can’t see how that could ever be tremendous structuralist—he felt that I did love theatre history though, morally damaging. if you got the story right, everything and ended up getting hired at BYU in Now, some art is bad, but usu- else would fall into place. That’s still ’92. I loved my classes, and one day ally it’s just badly executed. There how I teach playwriting today. I wrote I got an idea for a play about an LDS are certainly works of art I haven’t a play for Scott about college football family trying to decide what to do responded to positively, but usually it players called Playing the Game; it got about an elderly relative. The result comes down to ineptitude. I’ll often on the BYU season and went on to a was Accommodations. It got produced hear people in my ward saying things Kennedy Center/American College and won an award from AML and that like, “Hollywood is trying to corrupt Theatre Festival regional produc- kind of relaunched me. So I was pub- our youth,” and I’ll sit there thinking, tion and was another great learning lishing in theatre history and teaching “Well, first, there’s no such thing as experience. Then my composer friend those classes and meanwhile also writ- ‘Hollywood,’ and second, what specific Murray Boren said he wanted to write ing plays. My wife, Annette, and I had film are you talking about? Because I an opera about Nauvoo in the immedi- a young family so it was a busy and saw Little Fockers too, and at its heart ate wake of Joseph Smith’s death, so exciting time. In 1999, Tim Slover, who it’s a film about two mismatched

38 Issue 14 • FEB/MAR 2011 families trying to get along. It just about Mormons, but they have a busi- experience can destroy progress made wasn’t done very well. ness model that’s been very successful, with good productions. We can’t really and that we should find encouraging. flop in this business, and that’s tricky You’ve invested a lot personally into Good plays don’t matter if they’re because sometimes, with the best of the Mormon artistic community. You not produced, and good plays need to intentions, we do sometimes blow it. were even president of the Associa- be produced multiple times. It’s not As William Goldman said about film, tion for Mormon Letters for a while. If enough to do a play once, what mat- “No one knows anything.” People can you were to give a State of the Union ters is the second production, and the see a bad movie without it turning address about Mormon arts, what third. The New Play Project is doing them off movies forever, but, unfor- would be your main talking points? great work in Provo—Little Happy tunately, a bad play can turn them The state of our Mormon arts is . . . Secrets and Prodigal Son won the last off from theatre forever. Of course, uncertain. two AML awards and are both wonder- bad movies are often sort of fun. Bad I presided over AML for two years, ful plays. They’re in rehearsal with a theatre is excruciating, so that may be and my one accomplishment frankly is play of mine right now too, but they’re a factor. that we didn’t go under. That’s it, that’s constantly on the brink of financial ex- what I got done—I kept the organiza- tinction. Davey and Bianca Morrison A lot of your plays (not all) are tion from disbanding. I still believe in Dillard are great people, but how long Mormon-themed and/or have strong it, in creating a space where those of can they hang on? Mormon characters. What drew you us who care about good writing by and When I talk to the Plan B audience to focus on your immediate culture about Mormons can get together and members, they look forward to the and religion? talk about it. But in a time where Mor- new Plan B play with great anticipa- Honestly, it’s just what I know. I write mon Studies is an increasingly valid tion. They put it on their calendars about other subjects, of course, but academic discipline, we fight for any wondering, “What will they dazzle me the fact is, I’m a Mormon. I’m in this institutional support at all. I went to with next? What new insight will they culture and I’m interested in explor- the Mormon Arts Retreat this summer. bring, into this state, this culture, this ing it. It’s such an interesting culture. Retreat is right—this organization, world, this time and space?” The real- Sometimes people outside our culture which is so important and valuable, ity, though, is that our audiences don’t think it’s this very middle-American can’t pay its bills. always trust us. They don’t know much white bread culture. That’s so not true. But at the same time some terrific about drama anyway, and for a lot of Mormon writers are becoming huge Mormons “conflict”—which is a com- That being said, you also seem to players in national markets. I just pletely essential element of drama— be branching out into more national finished reading Brady Udall’s The equates with “contention,” which they issues. Recently, you wrote plays criti- Lonely Polygamist and it’s amazing, a spend a lot of time trying to avoid in cizing the meat industry (Miasma) and wonderfully written book about our their lives—and with good reason. dissecting historical American identity culture. I’m writing this while listening When I was in grad school, An- (Amerigo), among other plays. Your to a Killers album—Brandon Flowers nette and I had these good friends and plays for Plan B seem to have a decid- is great. I loved Neil LaBute’s latest one night we decided to invite them edly different audience in mind than movie. Scott Bronson’s doing a terrific to a production we were going to see. your plays at BYU. What brings you to play at the Covey Center while Chris A director I knew was doing a Twelfth write for/about the wider world? How Clark is emerging as the most exciting Night set in a Club Med. Our friends can Mormon artists intersect with the stage director in the Church. had never seen anything like that— larger national and global communi- they’d never been in a 150-seat black- ties effectively? How can we make the And how about Mormon drama, box, they’d never seen Shakespeare world a better place? specifically? How have we done, how done that way, they worried about the Discovering Plan B was a tremendous are we doing, what do we need to intimacy of the space. They were really thing for me because I love the people do for our future? What do you think leery about the whole thing, but it there and I love the opportunity to we need to make a more vibrant and was great, a very funny, smart produc- write for a different audience than lasting legacy? tion, and they were entranced. A few I had been writing for. I’ve enjoyed What I’ve always felt is that we need a months later, the same director de- writing plays with a bit more politi- space. I look at Plan B, for example. It’s cided to do a version of Julius Caesar. cal edge; it’s really been liberating for amazing; a small independent theatre We mentioned it to our friends and me. I haven’t abandoned LDS audi- in Salt Lake that’s sold basically every they were excited to go. We went and ences, not at all. I have three new plays seat for every performance for five it wasn’t very good; it just didn’t work coming out in the next three months years running doing nothing but new as well and our friends would never and two of them are overtly and di- plays. They’re not doing plays by and go see a show with us again. One bad rectly LDS, so I’ve hardly left my roots

Mormon Artist Magazine 39 Photo by Lizzy Bean

40 Issue 14 • FEB/MAR 2011 behind. And this new audience I’m of your children do you love the most? the level of work they’re doing. And writing for is, after all, just 40 miles All of them, obviously. the thing is, they’re not that inno- north in Salt Lake City. But Salt Lake is cent, they’re not that naïve. They’ve a pretty liberal town, and I feel like I’m What’s in the pot right now? What struggled for their testimonies and among friends up there. projects are you currently working on they’ve come out the other end of The second part of your question is and why? the struggle really grounded. I find an intriguing one. How do we connect I’m in the middle of a play about the them inspiring. to larger national and global audi- worldwide financial crisis and it’s The kids keep me young. They ences? Well, by telling great stories, completely kicking my butt. It took keep me grounded. I don’t like to think with characters who are honest and me forever to figure out what a credit of what a cranky old curmudgeon I’d real and true. That’s all. Good writing default swap really is and how you can be if it weren’t for the kids I work with. crosses borders. use triple-B rated mezzanine tranches And there’s a real possibility that I I just got back from Sundance of subprime mortgage bonds to create might have to leave BYU. I was diag- and one of my favorite films there a triple-A rated CDO. I mean seriously, nosed two years ago with polymyositis, was a film called Mad Bastards. It’s how do you package together a pile of an incurable muscular-degenerative about a small aboriginal community crappy mortgages and persuade bond auto-immune disease, and my illness in Broome, Australia. Very narrow rating agencies that the package is makes it increasingly difficult for me cultural subject, in other words, and worth more than any element in it? to get around, to keep my focus for a one that I knew nothing about go- But also, you know, where’s the story, two-hour class, to just physically get to ing into the theatre. But it was great where are the characters? I’ve got an the classroom. I don’t know how much precisely because it was so immersed outline and most of a first draft, but longer I’m going to be around so I trea- in its culture. Most of the actors had it’s slow slogging. sure the time I have with them. never acted before—the leading actor I reread Gadianton the other day I think they’re going to do great showed up on the set hoping for some and was amazed at how naïve it felt. work. I’m optimistic about the future. work as a grip. They liked him and cast Fred Whitmore, the play’s villain, him as the lead and his performance wouldn’t lay people off for a living How do your faith and your was nakedly honest and real. anymore, he’d be a bond trader for art intersect? We can do that. Just tell our stories Goldman Sachs and he’d walk away at Wow. Basically everywhere. I love with insight and imagination and the end with $30 million in his pocket. the gospel. I write plays that I hope compassion and truthfulness. Anyway, when that gets too de- will help people connect with their pressing I’m working on a novel and Heavenly Father and with their broth- In recent years, which of your plays I’m also doing a play about the Book ers and sisters. I owe everything to have felt most personal or important of Mormon. My daughter’s my stage my Savior. to you? Which ones drove you to fin- manager for The Plan and she said, ish them and finish them well? “Daddy, this is so good, you should do In an age of Playstation, Netflix, Well, heck, they all feel personal and it some more.” So fair enough. Twitter, Facebook, and YouTube, important while I’m actually writing Some friends have urged me to write why does theatre matter? them. Let me see. Family was really about my illness. But so far I haven’t Great final question. Theatre matters important to me because it was based been able to do that. Maybe someday. because nothing can quite compete on my family somewhat, and my fam- with the experience of seeing artists ily is my life—I’m nothing without You’re also an educator—a profes- create something live, for you, in that Annette and our kids. Borderlands, sor of playwriting at BYU. From that moment—just for you and other audi- which opens at Plan B in April, was perspective, what do you see in the ence members. Theatre is the most really difficult for me. It took six years rising generation of Mormon play- ephemeral of art forms—it disappears to write because I was so close to the wrights and thespians? In what ways as it’s being created, leaving behind characters it was hard to be ruthless are they different than previous crops nothing but the lives it’s managed, with them, hard to get the perspective of Mormon artists you have seen? however briefly, to touch. That’s an I needed to sit back and fix the scenes I love the kids I work with—they’re experience that nothing else on the that didn’t hold together. The Plan, just amazingly unafraid. I was so much planet can match. I love all the elec- which is in rehearsal now at the Covey more afraid when I was their age, tronic media you mention above; Center, is really important to me—my but these kids seem so much more I think they’re all valuable and impor- entire testimony is in that play. grounded, so much more sure-footed. tant. But live theatre can compete So that’s three pretty important Every semester in my beginning just fine, because there’s nothing ones. But really, it’s like asking which playwriting class, I just marvel at else like it. ❧

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Photo by Tiffany Tertipes Kymberly Mellen

INTERVIEW BY SHELIA COSPER WEB: MELLENHEADPRODS.COM

What was the motivation for readily identifiable from Church his- the supervision of many individuals, dedicating your life to acting? tory, he wanted at least one storyline all of whom had power to cut dialogue, It was something I knew I was good that wasn’t instantly recognizable or so we often didn’t have dialogue until at and that I felt great doing! Joseph predictable—a story that included the morning of the shoot and much Campbell talks about finding and moments of doubt and conflict in rela- of it was also improvised. We started following your “bliss”—the thing that tionship to the Church. He combined and ended each day with a prayer on makes you excited to wake up in the several journal and Church history set. Every actor with a speaking role morning and engage in the day. It is an stories that are not attached to specific was required to be LDS and temple- activity that provides a cyclical energy names and crammed them into one worthy. The spirit of cooperation and by refueling you physically and emo- family’s storyline. I play the unnamed mutual respect was overwhelming. tionally while you serve and work so blacksmith’s wife who receives a Book Multiple miracles occurred every day very hard. That’s what acting, direct- of Mormon from Joseph Smith. I as weather cleared, sicknesses abated, ing, and teaching does for me. I con- marry a widower with small children, accidents were averted, and all of our tinue to receive as much from these many of whom are burned to death by talents were magnified beyond our activities as I give. I love the amazing, the mob. Our last child falls ill as my natural abilities. generous people I have the opportu- husband is faltering in his faith and I developed a strong kinship with nity to interact with in rehearsals. I Joseph Smith’s blessing restores the the pioneers as individual, struggling think actors and artists are amazingly child to health. people. The last day of filming we charitable, empathetic, astute, and It was filmed over the course of were on the bank of the Nauvoo River knowledgeable people. a year, trying to match the seasons in the heat of summer with mosqui- with the actual locations as much as toes galore, reenacting the cholera You recently appeared in the possible. We filmed in Nauvoo and epidemic. We had over a hundred Joseph Smith movie. What was Springfield, Illinois, and in several lots extras all donating their time and that experience like? in the back of the LDS Motion Picture energy so willingly in those trying Studio in Provo, as well as Upper circumstances; you can see them in It was an amazing experience. The Canada Village, Canada—a fully func- the wide shots. We all felt some idea director/writer, Gary Cook, wrote tioning frontier town. It was a unique of what the pioneers were actually go- the part for me. Although most of experience in that the script was under ing through—although we were only the other characters in the film are

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Photo by Tiffany Tertipes on that location for twelve hours and Macy, Nathan Mitchell, and Katherine through the eyes of their character to the pioneers camped there for weeks Nelson. the table. I strongly rely on a sense of in the mud with meager supplies ensemble and group input. I consider and illness all around. Our mud was You are not only an actor but a direc- myself the lead collaborator and final makeup, the sweat trickling down our tor as well. You directed The Turn decision maker, not the originator of faces and staining our clothing was of the Screw at the Covey Center all brilliant ideas. I try to approach the glycerin, but it’s the closest I’ve come two years ago and Shakespeare’s As performances as an extension of the to viscerally relating to their challenges You Like It last year at BYU’s Pardoe rehearsal process—we should all still physically, emotionally, and spiritu- Theatre. How does your approach to be trying to clarify and experiment and ally. It was wonderful to be surrounded acting change as a director? affect our partners more deeply as the by so many actors whose work I I try to direct others the way I want to run progresses instead of recreating an admire and who are professional and be directed. I expect the actors to do exact performance night after night. spiritual mentors to me: Gary Cook, thorough research and bring a specific- I had just performed in the two- T.C. Christensen, Tayva Patch, Rick ity of thought and clarity of events person Jeffrey Hatcher version of The Turn of the Screw for a six-month run the previous year, so it was very fresh in my mind. I had a $200 production budget to transform a cement room into a theatre, build a set, find props and costumes, etc. With my husband as my co-designer and director, we decided to build a set that reflected contemporary fears and included the sights and sounds of modern psychological hor- ror movies. We paid homage to shower curtains, body bags, grimy windows, masks, bare light bulbs, and rotting wood floors in our production. As a director, I think the cardinal rule is not to bore your audience. I don’t want them to “sit back and enjoy the show,” I want them to “lean forward and engage.” So we tried to layer in as many subliminal sound effects and startling surprises of sound and performer proximity as we could. My actors were fantastic and I think we confused and scared the average audience member. Mission accomplished! With As You Like It, again my central mission was to make the play accessible and applicable to a younger contemporary audience. We set it in modern times, began with an on-stage coup as the framing story and added in cover songs from current bands, all performed on stage with acoustic gui- tars and live singing. It was definitely not what you would find on the stage of the Utah Shakespearean Festival’s Adams Theatre, but a fun, valid inter- pretation nonetheless. My goal was to demystify Shakespeare’s words and relationships so that the student actors always knew what they were saying

46 Issue 14 • FEB/MAR 2011 and what they wanted and the audi- I think they understand me better as blessing promises me that if I make ence could identify with the struggles a mother when they see me in my ele- time for my husband and children and of people like themselves. ment. They also learn the sacrifices re- express my love often and freely there quired for this job; when we got home, will be great joy in my home. My hus- What is your preferred type of role? they were just as tired as I was. band is constantly reminding me to do I want to be challenged; I want to do This past year, my entire family just this: to leave my business at the something that scares me to death. was involved in my production of As office and when I am home in person I want a role that I don’t understand You Like It at BYU. I directed and my to be present and engaged with the with a scene partner or ensemble that husband and all four children were children. I have never missed attend- I feel completely inferior to. If I feel in the ensemble. I loved that pro- ing sacrament meeting more than two fully prepared and fully confident, I cess. I remember saying at one of the Sundays in a row, no matter the incon- won’t be learning. I always want to be rehearsals, “Everything I love is in this venience or rehearsal and performance advancing in my craft and knowledge, room: my family, eager students itch- schedule. I specifically ask for callings not sitting back on my laurels. ing to learn, and the words of the mas- so that I will develop service relation- ter playwright William Shakespeare.” I ships in my ward and feel needed. Your family is an artistically centered wish all facets of my life could overlap one; you are an actor, your husband and infuse each other in that way. At How do you see acting influencing an artist. How are you bringing your first I thought that having the children the lives of others? children into that artistic circle? on stage would be difficult, but it cre- I was reading A Christmas Carol by We consciously try to make them ated an immediate community of be- Charles Dickens lately and I am always aware of the beauty and complex- lievable relationships. It necessitated struck by Jacob Marley’s anguished ity and contradictions of the world “being in the moment” and spontane- outburst, “Mankind was my business!” around them. We talk about feelings. ity on behalf of the adult performers Mankind is my business too; it is my We take opportunities for discus- because you never knew what the kids job to understand people and their sions in inopportune moments. For would do. actions at a deeper psychological level. example, when my daughter helps me After the stage production closed I need to feel and empathize deeply run lines, I love the dialogue we have we took the same cast out into the and have the courage to portray those about strange vocabulary and charac- forests surrounding Provo and shot lives with truth, accuracy, and insight. ter choices. We bring them to rehears- the entire production in HD. We are Leo Tolstoy said that theatre has the als. We read lots of books and create in the process of editing that footage opportunity to be more effective than songs, mini plays and performances to create a full-length, low-budget film any pulpit. There is a captive audience, on a daily basis. We take them to plays version of As You Like It to be used as with an open mind, ready to be enter- and performance art, galleries, art part of an educational software pack- tained, and unaware that they might exhibits, concerts, libraries, and mu- age for high school theatre teachers. actually be inspired by the end of the seums. My husband sets them up with performance. The chance we have as Balance is so important and it is their own art materials and projects performers to hold the mirror up to sometimes difficult when we lead while he paints. We try to purchase life and help audiences become more active lives. How do you maintain learning-based and imaginative gifts aware of their interactions with others, a spiritual balance with your work, that demand creative and problem- the direction their choices are leading, your time away from home, your hus- solving thinking. We share with them the consequences of self-destructive band, and your children? What links the joys and challenges that making and unkind actions, and their current you to home? art brings to our lives. relationship with God—these are This past summer I was lucky “Theatre is about life, life is not about amazing opportunities. enough to have my children acting on theatre.” That’s one of my favorite the stage with me at the Utah Shake- creeds, though it is difficult to apply to What do you feel is the importance of spearean Festival. My nine-year-old everyday life since this is such a time- art (performance, visual, and literary) daughter Ellie was a MacDuff child in demanding profession. To be honest, in the lives of members? Macbeth as I played Lady Macbeth and sometimes that balance is completely Other than the audience that reads my two younger children, Brookie (six) lacking in my life. There’s a saying this sort of magazine, I don’t feel and Vance (four), were dancing village within the acting community, “I can’t, there is much importance for art in children in Much Ado About Nothing. I I have rehearsals,” and that’s what it the perception of members and that really enjoyed spending rehearsal and often feels like. I miss out on a lot of saddens me. I think they believe it is backstage time with them. Their dress- family time and events. Each day I try a cultural exposure that their children ing rooms were right next to mine; it to realign my priorities, organize my would benefit from; that participating provided some nice one-on-one time. schedule, and simplify. My patriarchal in performing teaches self-discipline,

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Photo by Tiffany Tertipes social skills, and increases self-esteem; and start a family, despite the prevailing two-day period of two full takes. There and that art is useful as entertainment. trends. I hope my example has some- were lots of long shots and tricky shots However, I’m not sure that art, as a thing to do with their decisions. I hope traveling back and forth between career, is respected or encouraged be- my friendship and good humor and the present time and past memories cause it is not a stable profession nor transparency in discussing all things I with real-time choreographed camera financially lucrative. I think we’re such hold dear makes me a non-confronta- moves and quick set dressing. We busy people that we don’t make or take tional ambassador of my faith. rehearsed it similarly to a theatre piece time for the arts. We promise as part Secondly, specifically while teach- with continuous action. It deals with of our temple covenants to feed our ing at BYU, I have the opportunity to the unpredictable and complicated spirits as often as our physical bodies train future performers, not only in process of grief and forgiveness. Two and to me, participating in the arts is their craft, but also in their approach of my current BYU students are also an excellent way to feed our spirits—to to the profession and ways to incor- in it—Heidi Smith and Benny Isaacs. reconnect with our emotional life and porate their faith into all they do. My Being married to a low-budget film- learn from others’ lives. influence on these young adults will maker, I love to support other fledgling have a ripple effect in the perform- filmmakers whenever possible. How does theatre and acting ing community as they go on to both I just finished recording some enhance the experience of worldly success and raising their own voices for a BYU Radio version of A the gospel? families. I’m helping to train a per- Christmas Carol. I will be directing a Doing the research, suspending forming workforce that will represent conservatory play winter semester at personal judgment, really trying to un- BYU and the Church as compassion- BYU, which means that tickets will not derstand the why behind a character’s ate, non-judgmental, inquisitive, and be sold. It is primarily for the actors to actions is the closest I come to Christ- generous people. concentrate on the craft of character like empathy for another human be- development without the distractions ing. I might not condone the behavior An actor’s life is heavily dependent of major technical elements. I have of the characters I play, but I under- on their appearance. What do you do chosen Fefu and Her Friends by María stand why they do the things they do. to keep yourself fit for your work? Irene Fornés. It was written in the We rarely give any other human being Invest in a teeth-whitening system. As 1970s but is set in the 1930s and is a that kind of benefit of the doubt. a mother of small children with a full- strongly feminist piece with elements As members of the Church, we time job I’m not as regimented in this of realism and absurdism. are familiar with vicarious work for area as I should be. If I have to choose I will be performing at the Utah the dead. I feel like acting is doing between sleep and exercise, sleep Shakespeare Festival this coming sum- vicarious work for the living. I am always wins out! Then, at least I will be mer, but they haven’t made any casting vicariously living another’s life, real or healthy and sane, if not skinny. Being decisions as of now. As I mentioned I imagined. I am helping my audience in a show with upcoming publicity had an amazing past summer playing to vicariously view the world through pictures or a gorgeous costume that I Lady Macbeth and Beatrice with three another lens or prism, to experience want to look good in are great of my children also in the cast. the blessings and trials that come from incentives. I memorize lines while I I am writing a one-woman show making certain choices, to see others work out on the elliptical. When your dealing with the sinking of the Titanic in an empathetic light. blood is flowing, your brain is work- and Irene Colbert, the only known ing! My husband and I try to go to Mormon to die aboard. She was an How do you see your work helping yoga twice a week and I love Zumba! LDS midwife from Provo who defied build the kingdom? her husband and ecclesiastical lead- It depends on the trajectory of my Tell us about your current projects ers to go attend midwifery school in future professional life. Thus far, I and what you hope to achieve London. I hope to perform the show feel I am building the kingdom in two for yourself and for the broader sometime next year to coincide with distinct ways. community. the 100th anniversary of the tragedy. It First, I am unashamedly a work- This past December I filmed an inde- deals with the conflicts between moth- ing Mormon actor, willing to discuss pendent film, Boy with Blue, directed erhood and career, social conscious- anything with anyone in the industry. by David Thorpe and written by Mat- ness, and the support we can offer one I have many, many spiritual discus- thew Greene—two recent BYU gradu- another during the transitions of birth sions with others not of my faith. I am ates. It’s about a couple dealing with and death. a strong promoter of marriage and the recent death of their teenage son I also have until April left on my the family and having children. I love in a drunk driving accident. I think it’s BYU contract. I teach beginning and seeing my non-member friends have a terrific plug for film festivals because intermediate acting, auditions, voice, the courage to commit to one another the 108-page script was filmed in a and speech and ethics.

50 Issue 14 • FEB/MAR 2011 Photo by Tiffany Tertipes

In a perfect world, with no midwife. I find as much pleasure in of lesser importance than how I raise monetary or time limits, what teaching childbirth classes and attend- my family. would you be doing? ing births as a doula as I do perform- However, I have the added blessing If I had more money, I would finance ing, but the two careers both require and responsibility of touching many my husband’s films and artwork. He is so much time away from the family. people’s lives through my teaching the most creative, talented individual I would also spend far, far more time and performing. that I have ever met; all he needs is with my children. I hope I can help audiences re- some serious financial backing to re- examine their choices and relationships ally get off the ground. How do you want to be and do what is necessary to come closer I would love to run my own theatre remembered? to those they love. I hope I can help and hire the amazing actors, direc- In the long run I want to be re- them identify and personally avoid tors, playwrights, and designers I have membered as a loving wife, mother, some of the tragic choices the great worked with over the years. I would daughter, and sister who did her best characters in literature have made. I star myself in a few independent films. to serve others and improve herself in hope I can bring not only entertain- If time were not limited, I would this life by following Christ’s example. ment, but also perspective, inspiration, study to become and serve as a I realize that what I do for a living is and healing to their lives. ❧

Mormon Artist Magazine 51 MormonArtist.net