Mormon Montage: Mormons in the World: a Production Script

Brigham Young University BYU ScholarsArchive

Theses and Dissertations

1979-04-01

Mormon Montage: Mormons in the World: A Production Script

Kris Marele Morgan Brigham Young University - Provo

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BYU ScholarsArchive Citation Morgan, Kris Marele, "Mormon Montage: Mormons in the World: A Production Script" (1979). Theses and Dissertations. 4958. https://scholarsarchive.byu.edu/etd/4958

This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. MOEMONMORMONmommon montrMOTmowMONTAirle lif MORMONSMOIRMONS IHIN telgTHHE WORLD

A productionPRC DUCTION CRPTSCRIPTCR PT

A project presented to the department oftheatreof theatre indand Cicinemacinematicinematicnematifcicefcicc artartsactss brigham young university

F 1 in partialpart i cbl1 fulfluenbfuafu1LL ment

of theohsohe reqlijrequlreraenlre rlerlt Z forf r the desreedegree mastermasfpr of arts

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I present form by theitheathe departmentdenlardencarbencar t nentment ol01of theatre andand cineriaij arts af3f brigham young university as satisfying the projectprojecoroiacirot rci ec re ulirzireienzirelezeienelene for the degree of master of arts

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i ackhovhghentsAC KNOILII GIIIENTS

I1 express sincere gratitudegrat iltudeiltrude to the many friends who shared

their time and talents tobo helheihelpheipp nerie complete this projectJ to vancevanee everett who meticulously handcopiedhand copied the music to stuart wakefield who drewdrewdiaglramsdiagrams for this script and provided dimensions for blocks used in this production to teresa dayley who helped develop the exercises to max cropper whovrho photographed the stage structures and to ellen berrey who helped me record the choreography and stage directions theyhavethey have all donated their titimeme in spite of other pressing resresponsibilitiesoonsibilities dr harold R oaks was an inexhaustible source of strength and confidence his constant willingness to stop whatever he was doing and listen to any problems set an example that will always be valuable to me these frillfriendsindsands and others not only made possible the completion

of this work 5 but also helped me appreciate the basis of true friend- shipaship a willingness to sacrifice for another without expecting recompense

11 1 my arnt finally1nallynaily 5 I thank famifamilycamiliyllywiy whose constantconst supportsupport 5 confdenceconfidenceconfidencesconfconfidenceycont dence and prayers encouraged me I1inf n this achievement

ihiihl111 TABLE OF CONTENTSCOINTENTS

acknowledgments illiti chapter

I1 ORIGIN AND background 1 development of the play 1 research 0 a 2 cast selection andtryoutand Tryouttryoutstryedy outs 3 rehearsals performance and response 4

I1II11 MORMON MONTAGE 9

cast of original production 10 original cast of mormon ontagemontageM 11 script accomplishment index 11 notes to the director lu14 notes to thethedesignerdesigner 18 mormon montage 20

APPENDIX

A LETTER FROM LDS CHURCH HISTORIAN 12712

B BYU LETTER SENT TO DEANS AND FACULTY OF 0 0 0 129

C activities auda10AND improvisational situations FOR TRYOUTSTRY OUTS 132

rehearsal exercises 13134 inprovisationalimprovisational situations for trycutstryoutstry cutsouts 135

D REHEARSAL SCHEDULE AND EXERCISES ika148 introduction 19149 rehearsal exercises 15154 additional references for warnwarmupswarm ups 252 E performancepreperformancePRE AND harmWARMUPWABMUPWARMWABM UP activities 25254

iv F A categorical INDEX TO THE activities IN appendixes C D AMAND E 262

introduction Is 0 0 it 0 0 263 index 6 4 0 f 0 0 0 0 0 0 0 0 0 0 0 4 4 264

G EXAMPLE OF A REVIEW orOF MORMON MONTAGE 273

H PROGRAM FOR MORMON MONTAMONTAGEE 275

I1 photographs OF complicated structures I1 1 278

J BLOCK dimensions I1 I1 303

K MUSIC SCORES 310

L choreography 336

M PUBLICITY FOR MORMON MONTAGE 34534.5

N additional references FOR CONTINUED RESEARCH 37347

SELECSELECTEDTED bibliography I1 I1 352

v CHAPTCHAPTERF-R I1T

ORIGIN AMAND BACIMRCTbackgroundmi

development oftheodtheof thetee playP the savior said ye shall know them by their fruits this admonition though given centuries ago still applies to the advocates of truth today members of the church of jesus christ of latterlatterdayday saints are oltenoften heralded for their religreligiousloustous scholarly achievement but few realize the contributions that havebeenhave been made in secular fields suchasbuchassachsuch as politics education science technology and business while traveling in various parts of the world ahewherevhe e the church population is limited dr harold R oaks realized the need for such isolated saints to have identification models in the church with whom they could relate youth particularly around the world are constantly challenged and bombarded with pressures causing them to fall and lose hold of their testimonies of jesus christ if information could be gathered and a play written concerning the great contributions mormons have made to the world perhaps the pride of bingbeing a mormon could be instilled in the hearts of young people and strength could be given to other members of the church A production of thithlthiss type could also aid who know inn the work of spreadingA the c1cagospel to those do not yet of the great fruits it yields 2

according to leonard a-ringtonaringtonarringtonrringtoeton LDS church historian ttthisthis information has never been compiled it and a project of this kind will be worthwhile not onlyorayonay to BYU but to the church as a wholerwhoiewholewhole1 see appendix A dr oaks thus wrote mormonmormon montage t which was originally produced at brigham young university in march 1978 the sesquicentennial coactcojctcommitteeleeuee of the church has shown an interest in this play and so I1 have endeavored to prepare a rehearsalrehearsalqualityquality script and production notes that are available for publication I1 recorded the process of script development and assisted in the research rehearsal and performance of the original production

research to develop a script of this nature it was necessary toAto research and compile the names and accomplishmentsaccompli shmentssements of Morcormonsmormonsmons to do this we used the following method I11 A letter was sentsenad to deans and faculty members at BYU see appendix B 2 A trip was made to salt lakdaklakedakee to obtain information from the church historicalHistohistoricaldericaidericalDedepartmentrartmett and 16thedhe archives 3 the alumni association gave us lists of graduates of BYU who had achieved in their field 4 through the music department files information was gathered on variousvarvacvecrious mormon musicians and the tabernacle choir

5 the BYU library collectioncalleccollec clonciondion of mormon works as well as theses done on famous mormons were researched 3 6 articles to ask forfodfoj information concerning significant contributions made by norMormormonsronspons were printed in newspapers such as the daily herald provo utah the dailydallyilyliy universe brigham young university student newspaper deseret newsmevsmews salt lake city utah and church news a section of deseret news 7 biographies journals and personal interviews were also included in the research

cast selection and tryouts mormon montage TT was written cast and produced in 1978 tryouts were held january tenth through twelfth students audi- tioning for the play were rerequiredred to sing a song plplay2 y an instrument if possiblepossinblebie and learn and execute movementaamovement sequence A one minute auditionaud tion selection was also recommended those called back were chosen because of their sparklesparkiespark- e enthusiasm and confidence before an audience honesty depend- ability and trustworthiness were1 also considered one of the greatest assets to an improvisational show of this kind is a company that works welltogetherwellweliweil together thus their ability to create in a group and relate to others was tested through improvisational situations see appendix C they were also required to test their ability to speakspeakwithvithwith an accent and put the impact of emotion behind their words former theatrical experience was not a pre- requisite as some drama students would have difficulty creating spontaneously in this type of a productproductionI11 on because of their experience in working with a formalformyormala written scripscriptc english french german and utahanubahanufcahaa accents were essential in the script 4 the director also needs to be aware of other qualities used by characters in the play such as a high soprano or strong singing voice for emma ramsay corricmorrismorric and gymnast abilities for allesandro viero thus I1 learned the importance of being sensitive to the talents of others particularly in an audition situation many backgrounds and abilities had to be assessed that were not specifically performed for example because the script had not been fully written we did not know until its completion long after casting what type of characters would be portrayed we therefore had to choose individuals who were versatile creative and unafraid to try new innovations as they too participated in the development of the script because of thithlthis1 s some of the cast with no previous dramatic experiencee discovered a blossoming talent of which they had fformerlyornerormerly been unaware

rehearsals performance and response the script of mormon montagettmontagetageTT allowed new innovations on the part of company members which made it possible for them to discover different aspects of their characters for example one night dave nelsonneisonmelson portraying syd goring said cuse me right mate it as the cast caught him running away with his hands on the soccer ball he added this line as an englishmans apology he felt and delivered it in character such ad libs often added another dimension to the show I1 ffound that directing a show of this kind is very challenging As assistant director I1 learned the importance of 5 having a purpose in everything done in rehearsals so that a certain point of development could be reached As most of the cast had little or no former experience on the stage the exercises used in rehearsals and performances were designed to develop a unity and sensitivity with the cast and also to help teach dramatic principles

see appendix D for rehearsal schedule and exercises appendix E for performancepreperformancepre warmupwarm up activities and appendix F for a categorical index to appendixes C D and E the notes given after a show often helped to remind the company of former principles learned1earnedandhelpedand helped them to better perfect the genuinenegenuinenesss sofsots oftheirtheir performanceperformance following are several examples taken from various rehearsals and performances they are listed in order of their occurrence in the script the general notes appearing first they can best be understood through familiarfamiliarityiety with the script 1 enunciate your words 2 energy is needed in the stage pictures feel it through the ends of your fingersfingers 3 listen to each other be sensitive to what is going on so you can react 4 dotdont just give a facial expression have it be a natural response to your feelingfeelingsfeelingsoso otherwise it comes across fake 5 the energy in the opening was good but it needs to continue throughout the show

6 know your wheres inthein the show see page luiblb1414. note 22. 6

7 have a neunew objective and character for each crowd scene 8 know your character in the crowd scenes have a specific attitude toward what is going on around you maybe you are sympathetic to joseph but join in because of crowd pressure maybe you hate him and feelhefeel he s a threat to your children 9 move quickly on cue elections 10 women need to feel an emotion when saying joseph will you cry try to hide yearyour emotion go to tell another feel lost and alone feel as if the1cediceddoradord lord has forsaken you 11 men need to feel grief when saying gone your leader is dead was he a brother an uncle did he heal your child what will the church do now areaceazeaxe you horrified missing him as a leader a teacher go through images in your uinaulnamind hear gun shots see blood flowing fromfroda his wounds read- d & C

135

12 As you turn back you see a leader brigham do you feel a relierellereilereliefIF of havhavingng leaderleadershlleadershipshlp 13 move quickly on cue lion of the lord 14 william clayton needs to feel a crick in his neck as he tries to count the revolutions of the wagon wheel 15 focus up to audience wilen singing come come ye saints so they can see your fecesfacesfac s

16 the audience must feel that the dollpolldolgpoetit is writing real words on his paper as he rerecordscords the mormon battalions journey 7

17 men see the ocean in your mind when you arrive at san diego feel the satisfaction of having survived the long jjourney0urne-y 18 the french official must always have a twinkle in his eye as he kisses those he awards 19 dallin oaks doesnt need to make running to the various phones look hard the task is hard enough by itselfitselfitseaf1f 20 goals in soccer are not always on the ground the bailhallballbalibalebaie can hit anywhere in the goal so let us see that in your actions 21 if you sit in the audience for the womens conference do not draw attention to yourselfyl urselfourselfurselfseif through overemphasizing your reactions 22 government officials need to write real words while pantomiming their work 23 be sensitive to each other and feel the beat so you are together on the volwordswoigordsgoivoids ds four hundred illionmillionrri dollar a year corOcorporationzorooration n

l the response to this production was bobothbolbop1 h positive and negative for an exampleexample of a review see appendix G some felt it covered too much material so that one could not remember any of the names others verwerverewere11 enchanted by the innovative construction of steamboats 5 buildings pianos 3 organs etc with the cast membermembersfnieraberslsf bodies still others felt a new awe and respect for the church and the greatgrea c men who had given much to the society in 8

1 which vewe live oneI1 audiauddaudiencaudienceenc member said that10 he would never be able to cook eggs drink milk or get dressed witholatwithout thinking that a moonmormon vaswas probably president of the company that had produced that product thus I11 feelfeelthatelthamthat mormonlmontagemormon montage achieved itsets1 purpose for it helped inform members of the church of the great heritage vewe have and that vewe as a people are living up to christs admonition ye shall knoknoww them by their fruits CHAPTER II11

MORMON MONTAGE

written by

harold R oaks production notes and stage directionsD byloy kriskriiskribs barelemarele morgan

9 10 cast of OrloriginaldinalEinal production mormon montage writtwrittenwrittenen by harold oaks was presented ffromrom march 16 to march 31 1978 as part of the mormon festival of arts it was performed in the phillip N margetts arena theatre in the harris fine arts center at brighamatbrigham young university see appendix H for the program because this play involves many mormon ffiguresi1 guresagures who have achieved excellence in their fields each cast member will portray many characters several of the original cast had talents which made this possible suchi abilities should be tested during tryouts see cast selection and Trtryoutsyouts to facilitate cast selectselectionionlon and the assignment of parts a list of the original cast appears below with a mbernimberninumber assigned to each name numbers one through nine are women and ten through seventeen are men in the script itself the number of the cast member originally given the part follows the name of the character for example J martin holman no 13 portrayed joseph sr in the script it thus appears joseph smith sr no 13 for those lines said by a character not specifically named as in the mob scenes the number of the person who said the lines appears above them example

no 16 you know what joe smiths done now 11

original cast of tf mormon montage f number name home town

1 ellen maida berrey stamford connecticut 2 jette halladay ripon california 3 kristen ison caldcaldwellwell idaho 4 lisa kirkwood provo utah

5 cheryl mccleery bountiful utah 6 kris merele morgan santa barbara california 7 robin starkey granada hills california 8 kathleen swift portland oregon 9 leslie winebrenner new canaan connecticut 10 steve adamson nampa idaho

11 david C bradbury sandy utah 12 richard haines chillicotheChilli cothe ohio 13 J martin holman corydon indiana 14 jay loverlower smithfield utah 15 david L nelson seattle washington 16 mckay stirlandstirlanaianaland mesa arizona 17 alan david walker idaho falls idaho

scri2tscriptScliptcript accoalmccoalac comeliompliishmentashmentshmentament index because the flow of this production must be continuous the play is2 s not divided into scenes however for convenience in locating the part of the script dealing with a specific 12

mormon 1 accomplishment of ffiguresigulriguls es I1 I harehavehawehawa listed below the areas and page numbers on which they can be foufoundid

areas laassaesSSSze church history 24 joseph smith kirtland persecution nauvoo

the exodus mormon battalibattalionon salt lake city music 64 art 68 sculpture

Paintipaintingncr photography

education 73 scholarship presidents of universities commissioner of education

sports 79 baseball football golf cheetcheercheerleadingleedlead ing 13

areasarj3as paepag e rodeo basketball soccer race car driving boxing and estlingwrestlwrestlingvr ing weight lifting gymnastics diving ice skating snowmobiling teeter totterintotteringTotterin r women 96 military service 98 congressional medal of honor uncle wiggly wings government service 0 it 0 100 senator reed smoot representatives

appointed governmentalgoverrimwovergover rimental positions presidentsPresipresldentidentT s cabinet ambassadors judicial service lobiobloh104 judges lalavydavylawyersvyer s 14

areas padepage

inventions 105 explosives fuel stereophonic sound artifartificialicialacial diamond

science and medicine 10 107

dinosaur discoveriediscoveriesdiscoverie c artificial heart and lung artificial kidney psychopharmacology and pharmaceuticsbiopharriaceuticsmopharmaceuticsMo

TV and entertainment 110 business 114 J willard marriott presidents of companies lisjl110notes to the director 1 the word company is sometimessome timesbimes used to mean the cast househoasehouse refersrefers to thehe audience 2 where refers to the place actors should picture in their minds and react to as they deliver their lines 3 in the dialogue three dotdotss mean a pause unless they refer to an omission of words given in a speechlyspeechbyspeech by a specific character ffronfromrom history 15 4 the words ad lib refer to lines said on the spur of

the moment that are not specifically written in the scriptSC liptclipt they

are recorded here only to give an ideaedea1 of the dialogue that can be used other comparable lines can be substituted sometimes the actor can invent speeches in character which make a performance much more spontaneous and enjoyable however the director must be careful not to allow such improvisation to get out of control or the purpose of the scene can be destroyed 5 if ad lib lines became almost set dialogue in the original production they areaxeaxe written as such in the script otherwiseOthentiserise they are included as stage directions 6 the dialogue is writtenwritte n ffromo mtthe left margin whereas the stage directions are bordered by the middle margin 7 dialogue written into the originalor1ora ginal script butona omittedittedbitted in the final performance is put in parentheses this was done either because the actor fbiforgotgot the lines or the flow of the seriscriserlscript0 h was better without them use iiss left to the discretion of the director 8 the stage directdirectionstalidltaaons are given from an actoractors nointpoint of view since mormon montage was originally produced in a thrust style theatre the stage instructions are given accordingly A floor plan with the marked areas of the stage is given below this is not meant to be a scale drawing but only to give an idea of the space in which the play was originally produced 161I

t3lo65 pzac5p vor f&1vcv asalusal V 51dowIOWyow

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9 all of the stage directions given in this script were those used in the originoriginalcalzei production and can beioeloetoe changed as the current direciidirectoror sees fit the stage dirdirectionlectionvection for each line is

1 statedstater before the dladiadialoguelogi le to which it rerefersL ers if the action takes place before or dad1duringj inriingi the time the words are spoken if the action occurs after the line the stage directions follow dad1dia- grams in the script relating to these instructions and showing placement on thethenhe stage for various figures will be dealt with in the same manner 10 stage directions written in the origiroriginoriginallalkalkai script but not used in final performance are stated saying thatthab it 11 may 1 be done for example company may begin hhumnhummingumn anglng oh how lovely was the morning if the director desiresd sires 17 11 cast members alstnastmastmustlst be encouraged to do research to get to know their characters what type of clothes they wore their

manner olof01o L speech and peculiar characteristics which will make them

real for the audaudience1 eneeence 12 in the sports section all changes from one game to another must be very rapid the audiaudienceenice attention can be lost if chaos is apparent

13L 3 during theU he scenes of building nauvoo and kirtland speelspecificificidic tasks must be performed in pantominiepantomimepangantominie by each cast member they must bellbelibeilbelieveeveleved they are a part of this event so the audience will also feel Iibsots1 import 14 the diagrams in tltheleiscrlptscriprscripa showing the scenery built by using the cast membermembersmembersfsf bodiesbodif es are drawn from the point of view of the audience unless stated otherwise however photographs of some of the complicated stzatzstructuresijctur s appear in appendix I1 with appropriate explanations in some cases both diagrams and photographs are provided for clarification 15 the beginmngbeginnilng block setupset jpup for the show is included in

L the diagram showing the finalfinahfj L 88. position of casteast members indicated by their number after the preliminaryre2im1nary mormon songs seejee appendix J for block dimensions when the blacksblocks are not in use during the show they are placed alongC the back wall still fully visible to the audience this space is 1indicated1 ndicat ed as the upstage block area in the diacdiagramyram on the top of page 16 116 the actual seritscrimscripascripblt does not beginbeg 1 n untiluntal narrator 1 1rf am god speaks after the draypraydrayerprayerir and the songCD I a child of 18

17 sections of the play should be adapted to include sisignificantc ni ficant accomplishments and contributions of local members of thebhe church sections such as sports and presidents of

com 1 companiesconoonp ani 1 s houldshoulashoulds also be updated to keep the information current 18 all sound effects are made with either the piano harmonica flute or the acorsactors voices the harmonica is used for the opening mormon songs and the flute iiss played during whats a mormon ever done the company makes sounds or sings as the

script indicates see appendix K for the music scores and

appendix L for the choreographychoreogr laphymaphy 19 see appendix M for publiclpublicapublicityityltyalty of original production

iipjl0notes to the des31energner1 1 costumes should beibeioetoe siisilsllsimplesimpiebdieqp1e the original cast wore belted jpjesuitsjpsuitsjumpsuitsjumpsuitssults the women had the pastel colors of blue peach yellow and green and the men wore darker colors of rust bbluelue green and golden yellow

2 nomo properties ar-arearcaeaa needed as the cast pantomimes all the action suggested in the script

3 makeupmake up will be determinedIetdet ermined by the distance between bhethecheuhe actors and the audience A very heahealthyI1lthyalthy natural appearance of the cast is best 4 although blocks were originally used stools boxes chairs etc could be effectively substituted according to the designers discretion 19

0 5 if blocks arearte used forL o structures sides naymayilay be painted to give a specspeespecificoficjficL effectL they cancam then be turned over

for additional colors i-ifl desired 6 the diagrams in the script of the buildings and wagon are given only to show their wenergenergenewgeneralt al appearance the actual blocks used are left to the dedesignerss4salanerslgners discretion 7 the lighting need not be elaborate it should be basic area lighting with only a few changesCD to aid in the noodmood 20

mtrmormormona mallamqllamontage9qaq

three company members are on stage at opening of show while the audience is coming into the theatre they are playing simple instruments guitar harmonica etc songs from the mormon heritage such as oboh how lovely was the morning are played as cast members stroll by twos or threes onto the stage they sit anywhere on stage that iisf s comfortable to relate with the audience some hide in the house the following dialogue is ad lib by various cast members for example

no 7 how about some audience requests any songs youd like to sing no lepersonlopersonlo10 person playing harmonica we can play a fefeww until we run into any sharps or flats no 17 we know most of the primary songs no 14 we do

no 11 we hodehodelhopehopel they enjoy playing talk to each other about the songs encourage the audience to sing along suggest titles etc sing give said bhethebheuhe little stream no 4 speaking to a cast member but may call on those in audience richard why dotdont you pick one for us cast members try to coax out those who had hidden in audience

no 13 speakingspeakingto to a cast member in ththee audience 0 21 you sir in the blue jumpsuitjumpsuit pick a song for us the cast sings popcorn popping on the apricot tree we thank thee 0 god for a prophet praise to the man it headhead shoulders knees and toes the cast moves to assigned blocks for beginning of show see diagram below see appendix J for block dimensions

7j 00010

the following can be adapted as needed

no 2 welcome to tonights performanceperfo3mlanceofof mormon montmontageage before we begin we have a few notes that were left oftof the program one is that is running our lights clapping by cast members 22

no 2 take a boboubowvt and that the music was written by wes and rita wright and our very own martin holman clapping by cast members

hono 2 each night a different cast member is asked to give the prayer and as most of you know we like to start our BYU productions with prayer so tonight wedwe like to ask if heldhe give the prayer prayer then cast sings 1 I am a child of god herranarratorsHarrators stand and cross stage as needed to relate to each other and the cast the rest of the cast remains seatedseatedsseaters listening and watching the proceedings NARRATOR I11 hono 1 hi everybody

NARRATOR 2 no 14 weewere happy to have you here this evening

NARRATORNABRATOR 3 no 2 bet youd like to know what this is going to be about

NARRATOR 1 no 1 T well with a name like mormon montage it could be most anything 1 NARRATOR 2 no 14 except it will be about the Morcormonsmormonsmons

NARRATOR 3 no 2 there have been all kinds you know various cast members jump up and act out the type of mormon they mention

no 15 big ones no 6 small ones

no 13 happy ones 23

no 16 sad ones

no 4 friendly ones

cast embersmembersfa make up other oppositesopposlposiites but the words are said on top of each1 1 ichach1ch other cast moves relating to each other

NARRATORNARRATORI1 I11 no 1 stands on block and says for instance there was one named brigham

NARRATOR 2 no 14 walking over and cutting off no 1 now hold on there that gets ahead of our story

NARRATOR 3 no 2 climbing up on downstage center block I1 bet we could say it better with a song NARRATOR 1 no 1 lets start with tthatnat A cast member downstage left turns triangular block over so a flat side is on top this will be used in the choreography

production humberhuihufNUiNUMBERvoberyoberVEBER bhattwhattwhats s a mormon ever done lights brighter for song see appendix K entry 21 for score and appendix L entry I11 for choreography suggestions

WHATS A MORMON evahever donieyDONIEVDONE refrain whatswhat a mormon ever done to help the human racrace whatfwhatswhaff s a mormon ever done to maklmaksmakemekec the world a betterbettler place women gave all he had to give men thats what made cmem grow all give said the little stredstreestreamnm thats whatwhal made it so give said the little1 1t1 le streamit thatsthat s what made it so 24

I1 solo therethere s a ssayinisayin1ayin thatthat I1 lelearnedleaiealexA arned very very long ago that the lords chosen people by their fruits you would know all if its good if its great the heaven had a hand in helping it to spread to each and every land rerefrainfrain whatswhatwhet a mormon ever done to heldheidheliohelpheiko the hunanhuman race whatswhat s a mormon ever done to make the worldT o2oa a better place women gave all he hazhadL to give men thatsthatthet what nacienaclemademacie cmem grow all give said the little stream thats what made it so t give said the little streams1sa hereshere what made it so NARRATOR I11 no 1 we will begin at the beginning cast moves to places designated by dirdirectorctoractor for joseph scene

NARRATOR 2 no 14 joseph moves to block upstage left the year is 1820 upstate 1nevnewlevlew york USA spot light on joseph praying company may begin humminghi ing oh how lovely was the morning if director desires

NARRATOR 3 no 2 A young man went into the woods to pray joseph prays joseph sr pantominespantomines fixing a harness lucy mack kneads breedbreadbreedl JOSEPH smiteSMITHst4gstag no 12 rises hands toward heaven and I1 got an answeranswerl crosses to falfaiyaifamilynily joseph sr puts hand on joseph jr s shoulder I1 told my family joseph sr taps lucy no 6 who joins him

JOSEPH STsmiteIAITHSMITH sr no 13 thats quite an experience you had joseph knowing your answer from that source leaves1eae ives no doubt 25

JOSEPH SMTTHsmeLTH no 12 turns toward left stage and I1 tod my friends joseph smith freezes group forms and ad lib comments are said aboutabouo joseph as crowd points to him cast gives lines with feeling of amazeiamadeiamazementlent different setting is assigned for each crowd scene each person in group takes on a specific character old young fat skinny bossy crabby sympathetic etc director assigns a where or a place to which the cast can relate as if the situation is happening there for instance the followfollowinganglng could be in rontaront of the Ccountryauntountry churchurchch iinn ttownown

no 8 joe smith says he saw god

no 7 imagine that

no 15 he says our church is wrong

no 4 heseeshe the one whoswho wrong several others agree

no 515 taps head with finger indicating weak mind anyone D with ideas like that cantcan be rightCCD up here

no 9 and anyone who believes him cant be right either all agree supportivesup tortiveoortive comments etc freeze action in mid course

NARRATOR 1 no 1 and four years later crowd moves to stage right with feeling of incredulity and disgust cast members choose new character to portray next 11 wherewh erei I1 the general store is assassigned4lunedlgned see appendix D no 4U ofo-f feb 16 1978 26

no 16 you know what joe smithssmithes done now

iiodiohoITO 10 says he ffound a book

no 4 no its not a book 113its113.113 gold plates all laugh

non00 7 and says an angel gave them to hinhimhinihimlhimi no 8 yeah and its about the indians imagineJ that I1 no 15 who would believe such a story company laughs and freezes characters

portraying the followingZ men step out of freeze go to various dartsparts of stage facing left centecenterJ and right sides of audience

MARTIN HARRIS tono 16 I1 believed him I1 frefreezeze

OLIVER COWDERYCOWDJEEY no 171 I1 believed hihimhimihimlm freeze

DAVID TOITMERFIIITIFIE R no 11 I1 believed him I1 freedefree-freezele

MARTIN HARRIS no 16 martin harris is the nauename wellwellrespectedrespected farmer in palmyra new york I1 mortgagemortgagedld my farm so the book of Dfmormonormon could be published and I1 signed the book pantomimusPantopantomimesmimes signing and freezes

OLIVER COWDERY no 171 unfreeze and lmim a school teacher come from vermont I1 believed about the angel helped as a scribe and with these two men signed the book as witness my name is oliver cowdery freeze 27

DAVID ttmeirTOITMERigeTWH no 11 with a feelingafeelixag of bearing testimony to the world standing on block on downstage left as if holding a paper or book reading be it known untoonto all nations kindreds tongues and people that we have seen the plates and we also know that they have been translated by the gift and poterpower of god for his voice hath declared it unto us and we bear record that an angel of god came down from heaven and he brought and laid before our eyes oliver cowdery no 17 unfreezes and joins david whiwhitmeretmer

OLIVEROLIVZR COTZERYCOWDERY DAVID WHITMERWHITIV bearing testitestimonymony that we beheld and saw the plates mertinmart-martinin harris unfreezes and joins david and oliver NINMARTIN HARRIS DAVID weitmerweltmerWHITMERtlleTNJER OLIVER linnlnCOTOERYCOWDERY and we bear record that these things are true

DAVID weitmerWHITMERWHIUNIER no 11 my namesnameneme there too david whitmer joseph sr joseph and lucy unfreeze and join crowd like in tomtown meeting crowd unfreezesmf dezeseezes momentum builds to last crowd line then freeze lines given with jealousy with feeling that mormons are too big for their britches

no 15 did ya hear they formed a church 1

no 7 have they really

no 411 right here in palmyra in 153018301

noro 16 yeah and they even baptized some people

no 5 theyll come to no good theytiaeyteaey wont othersathersothers agree 28

no 8 wellweliweilwetli see to that others agree tension rising

no 13 dotdont want no cormonsMormormonsmons it11 arolaroiaroundindund herehera others agree distaste rises no 11 make T em move on

crowd freefreezeszIes

NARRATORNARBATOR 1 no 1 and they moved

NARRATORS I11 2 3 nosno s 1 14 2 to kirtland ohio

NARRATOR 2 no 14 A city grows

narra-NARRATORnOR 3 no 2 A temple rises I1 crowd unfreezes and goes to get blocks to begin building the temple blocks used must be designated by directordirentor diagram of temple appears below kirt land temple placement on the platform is designated by the dotted line

biabimPIAPLATFORMthammthommTFORM arra16waitARRANGWW

ARTIMUSARTITTVM MIIIETMILLET no 10 f my name I1iss artimus millettmlllettmallettI1 U the pro-prophetphet turned to Brigbrighamheraharaheda young and said 29 all ffreezereeze except joseph and brigham who meet on center stage

JOSEPH SMITH no 12 I1 give you a mission to go to canada and baptize artimus millett and brigham 5 tell him to bring a thousand dollars with him joseph freezesfreaezes

ARTIMUS MILLETT no 10 I1 believed him and was baptized february 18 1833 and went to kirtland millett sharessheresshakesshades josephs hand I1 was head mason and superintendent of construction for the temple millett claps hands accompaniment nhatwhetwhatswhat a mormon fivereiverfeverever done when he claps hands all unfreeze and continue tasks to help build temple and devised a special plaster for the outside of the building that made itltI1 glisten in the sun one woman lovingly touches building all freeze

WOMOWOMAN no 9 I1 believed enough to give some of my china for the plaster many of us did thatsthats what made it glisten we were so proud every time the sun struck those waveilswaliswallslis the following to be said with a feeling of prejudice well informed onesidedone sided opinion bigotry mindless prejudice and violence thechedhe where is under the stars on a country road no 11 dortdont want no Morcormonsmormonsmons around here others agree

no 4 make emm move on others agree all unfreeze and take down temple and set blocks in upstage block area seese diadladiagramgraza on page igi16116 lines said during this action

no 9 on to missouri 30

lloitono 16 we dortdont want m here elthereithereitherieithern no 15 welweiwell move em out or kill cmem noto 13 just like we did at wayne landingdanding on the missouri cast forms eamcamcamocampo looking for loved ones caring for sick building fires etc see groups on different parts of stage lights dim to give atmosphere of a cold drizzle thankful no 7 moves to parleys side PARLEY P PRATT no 16 we escaped from our home on horseback my wife thankful and m- yself parley pratt hundreds of people verwerwere seen in every direction some in the open air around their fires and others in tents while the rain descended in torrents husbands were searching for their wives and wives for their husbands parents for children children for parents the scene was indescribable camp freezes those speaking unfreeze and stand when their turn comes and relate together both of following are downstage center

GENERAL LUCAS no 15 havenhaventeaven we got an extermination order from governor bogesboggsboggsiboggslbogusl no 12 yaiya and we used it at hauns mill laughter

no 17L 7 another person in stage right group stands speaks then freezes we got seventeen of emm there 1

GENERAGENERALL LUCAS no 15 I1 general lucas ordered joe smith his brother and those other mormon leaders shot

gene2algenevalGENERAL DONIPHAN no 10 standing downstage center general lucas it is coldbloodedcold blooded murder I1 will not obey your order and if you execute these men I1 will holdhoidhoidhoadho1d you responsible before an earthly tribunal so help me god freezes actactionlonionbon but says A doniphan brigadier general missourmissouxmissourii state mimilitiallitilaitia 31 all remain frozen but narrators

NARRATOR 1 no 1 so there werlswerlewerewerne some friends even then

NARRATOR 2 no 14 but not enough to stop the driving out

NARRATOR 3 no 2 this time to illinois NARRATORNAHRIATOR I11 no 1 to a swampy malariainfestedmalaria infested curve on the mississippi river

NARRATORNARIRATOR 2 no 14 to build a city

NARRATOR 3 no 2 nauvootnauvoo all unfreeze build temple with blocks while song is sung lights brighter see appendix K entry 2 for score and appendix L entry 2 for choreography diagram ofo-f temple appears below nauvoo temple placement on the platform is designated by the dotted line lyrics for nauvoo follow diagram

PLATFORM ITCORMrrangementarrangementarrangement

FRONT

nauvooNATJVONAUYOO0

we verse nauvoo 3 nauvoo 5 weeiretre gonna work to build a dream come true nauvoo3nauvoo well do our job werewle fretre gonna see it through nauvoo a task the lord commanded us to do refrain nauvoo nauvoo a task the lord commanded us to do nauvoo veilweilwellveilivelil see a joyous happy age ensue nauvoo a city great and proud and free and true 32 verse the lord is our shepherd our shepherd is he and his grateful servants we ever will be the lord will protect us protect us he will and welweiwellweilweli raise unto him a temple on the hill refrain nauvoo nauvoo a task the lord cormcommandedanded us to do nauvoo wellweliweil see a joyousajoyousaloyous happy age ensue nauvoo a city great and proud and free and true all freeze but narrators who move as they speak

NARRATOR 1 no 1 A charter was granted by the illinois legislature

NARRATORNAFMATOR 2 no 14 both political parties and the governor supported it

NARRATOR 3 no 2 it created the city of nauvoo with all stay frozen but those who participate force of five or six police march to downstage and take pose as police and freezefreezel

POLICEMUT no 11 A police force all change to become students at a university

PROFESSOR no 5 stands as with mortarboard the university of the city of nauvoo men march away and women wave goodbye they march from downstage center around back to upstage right freeze following is said during marching

MILITARY GENERAL no 6 stepping out to speak to audience and the nauvoo legion controlled by the mayor but a branch of the state militia we had 2000 men in 1844

NARRATOR 1 no 1 local businesses included all of the following happens very quickly front part of militia be 33

comes sawnsamnsamusawmillitiltill see appendix I1 figfigurefigoreureore 11.

no 5 sawmillsS auml 11s 3 log no 171173 from sawmill is placed upright as the door to a house see diagram below J for itsIets1 stage position see diagram after ad libs following the inelneline1 and a cabinet makers n

DOOR

door moves to face different directions w as it is opened and closed face center audience when open and right audience when closed

three or four of cast act like bricklayers open door of house and go in close door and pantomimepanton i me finishing laying bricks for three brick walls of house no back wall so that some bricklayers face each audience pantomime putting plaster on the bricks ad lib conversation and make sounds of plaster plopping on the bribrickcl do for a short time no 14 several brickbrickyardsyards open door and go out of house meet plastereplactereplasterersj s coming into the house lines about the daysdavdaydby work are ad libbedbibbed such as hoveovloviovlowhow did it go and keblnebiwell11 finish it up1upupa work on plastering house on left stage others of cast begin working on making a cabinet on stage right see diagram below 1 I 34

CABINET

A mirror represented by womanfacingwoman facing 8 frontfront with a smiling wide eyed expression

B dresser formed by two people with heads together in front of mirror

no 3 A carpentetcarpentercarpenters shop

some of the plasterers pantomimedanpantomine cleanilcleaniscleaningn9 tadlapuptap leaving the house and go through the door

no 10 A lime kiln for plastering pantomime of working on cabinet continues several men begin to move cabinet into the house

no 13 and a cabinet makers no 8 admires cabinet and speaks to workman no 13113 as she discovers new facets of the cabinet examples of their ad libs follow no 8 oh itsit beautiful oh a drawer and a mirror I1 love itillitittl where did you get the wood

no 13 the petersons dunberlumberdumber company down on the river some men begin to move the cabinet into the house the cabinet moves by shuffling their feet

no 13 where would you like I1itft two cast members nosno s 4 and 616 who were bricklayers go upstage right and stand straight arms to their sides facing center audience they wiviiiwill11 become the carriage 35

no 8 in the corner next to the stove but dont hit the door when you go in

no 13 open the gate workmen wheel the cabinet into the house with mirror a girlsgirigirlgiris face facing the center audience they hit the door as they go in no 8 carefully watch watch the door calefcarefcarefulu 1 men turn cabinet around to ffitit in the corner of the house downstage left withvithwithi mirrormirrors back to the downstage left aisle those who help to move the cabinet into place become the other parts of the house for woodstovewoodstonewood stove see appendix I113 figure 2 for couch see diagram below diagram of final positions of furniture for the house also appears below

COUCH

A on all fours A B kneels behind A and places arms on L AsA back

FINALFTTAL POSITIONS OF ttHOUSE FURNITURE

A door B couch C wood stove D cabinet 36

no IT17 nauvoo craftsmen produced all of the following nastmastmust be said quickly no 8 lights stove matches no 16 prepares and leads horse nosno s 2 and 10 to two people nonoss 4 and 616 they put arms up and become a carriage with tasselscasselstassels see diagram below the horse precedes the carriage and the people ride walk between the carriage and the horse

HORSE CARRIAGE

A standsS tands two people sstraighttrairalahtght 3 holding arms arms to straight up side above head B head on and dangling back of A fingers down inholding Asar s like tassels arms

diodlonoITO 8 pantomimusPantopantomimesmimes duttingputting on gloves glovesG lcveslaves wagon moves forward to house no 16 leather goods whoa whoa boy yoreyoure mighty frisky today no 8 pantomimusPantopantomimesmimes putting on jewelry jewelry 37

noto 16 pantomimusPantodantorrltmespantomimesJ ninesnimesmimes checkincheckancheckingg the time knocks on door sound of knocking made by nosno s vendgend4 and gl61661. watches no 8 pantomimusPantopantomimesmimes putting on bonnet bonnets no 16 standing at front of door looking at gift I1 hope she likes this no 8 answers doodoorJ receives present fromL no 16 pantomimes putting it on shelf and pottery

NARRATOR 3 no 2 nauvoo advertisements appeared for no 16 warming himself by stove A castironcast iron foundry no 8 handing no 16 a cookie A bakery and confectionery

diodloiiono 16 ad lib oh well tharthardthankd youlyouyou1youa takes book from imaginary shelf and sits down on the couch and book bindery no 8 indicates dress weavers

no 16 indicates his suit tailors no 16 indicates door would you like to go for a rider tldeade 38

fiofroitono 8 combing hair Iin1f n front of mirror A comb kanufmanufactorymanufactoriactory no 16 lettlets s go showing shoes cobblers opening door gesturing for no 8 to go through additional lines may be ad libbedbibbed indicated by I1 a beautiful day outsideout sicLe the birds are singing squirrels itsrunning around

knono 8 admiring carriage and wagoners A new carriage when did you get it no 16 yesterday no 8 touches tasselscasselstas sels carriage moves fingers oh tasselscasselstas sels oh I1 love itill carriage begins to move toward downstage left

no 9 pointing toward audience as if sees steamboats down the river and two steamboats cast forms quickly into two boats rt facing opposite directions see diagram on page 39 also appendix I1 figures 3 and 4 for photographs

nosno s 10 and 16 persons forming the bow of the nauvoo nonoss 10 and igi16161 announce its name the nauvoo one person on ththe nauvooenauvoo blows imaginary horn khowho o ohloh 39

steamboats

A 4 the nauvoo A A 4aaalytJXVh A two people squat down facing each other right arm of right person goesgoe S forward and joins with open hand to left hand of lertleftiellellei t person to make the bow of the boat 3 which faces left stage the other arm of the bow goes straight out to the side to form the railing

B person 3 U kneels facing left stage with hands on head 3 forming the steering wheel

C pilot steering the boat

D smokestack

E two men stand on either side1 of round block turnturninging it like the seiptsshiptsship paddle wheel

the maid of iowa arqr 0 D

A two people at front of boat facing each other left hand of left person joins right hand of right person to form the bow which points toward right stage

B person representing steering wheel stands with bent knees faces C and walks backbaekbackwardstwardsawards as boat moves forward

C pilot steering the boat

D two people one on each side of the boat crouch and rotate arms counterclockwisecounter clockwise representing paddle wheels arms move together1 E one person sitting on othersanothersan shoulders holding arms up to form smokestack thithlthiss boat must be taller than the nauvoonauyoknauyoo because it passes behind it and must be seen that is why these people are standing and the front martofdartpartofpart of the nauvoo isi s down 40

one person on the maid of iowa returns salute who 0o ohohfhohf

eosnosNO S 3 and 14 bow on maid of iowa announce its nazriename maid of iowa

CITIZEN OF QUINCY no 7 stands behind railing of the nauvoo facing center audience and says line as boat moves toward left stage I1 lived dodownmthethe river from those mormons at quincy and heard a athe 1 lot of pretty haabaabadhad things about them I1 joljoinedjoy ned a group of others fofor1 a river trip to visit their clitycity on jaljaijuljulyy 454 1843 the nauvoo0 passes downstage of the maid of iowa they salute each other the nauvoo moves to the stage left side of the dlattpiattplatformorm to dock and freezes the maid of iowa moves to the stage rigright side of the platfplantfplatformornorm and freezes no 12 leaves maid of iowa steps on lower platfoiplatformm walks across platform to the nauvoo3nauvoo and helps no 7 off the boat boat whistles as no 7 steps onto the platform

CITIZEN 01OF QUINCY no 7 continues speaking 1 I1 was sursurprisedirisedorised I why those mormons have been most grossly 1slan- dered whytihy ivelve never seen a more orderly gentlemanly and hospitable peopleie holding up letter I1 wrote this letter about it to the quincy whiewhlewhig NARRATOR 1 no 1 boats also brought occasional entertainment to town like castmembersCastmembers come off to do set poses representing stated activity then frefreezeezle no 14 who was part of thee maidmald of jy61iovalovaiowa remains with back toward audience upstage right

no 13 steps up on lower level of platform posing as a lecturer lecturers ul41

no IT17 joins no 13 on platform as though debating no 11yesyes 11 etc then freezes with fingers in the airaivalvadiv debatersDebators nosno s 15 and 16 trestlerestlerestiewrestleI momentarily no 15 grabs no 16 in a half nelson wrestling hold freeze no 16 in squeaky voice as if being choked wrestlersWrestlers improvised piano music for villain refer to appendix K entry 1212. no 11 laughs and steals no 4U both no f s 11 and 4U were from the nauvoo and drags her to front of train made by company members see appendix I1 figure 5 forroror photograph of train train moves toward downstage right

HERO no lu14 turns around and commands halt As train halts all go sahhshhh as if train is losing steam persons forming cow guard fall back raising hands off the ground

no 4 hugging no lu14 my darling hero no lu14 turns to audience with a grin dramatic companies

conoon ComcompanyDanyZ sings and tootstoomsj an improvised circus tune forming a circus which includes a popcorno ocorn vendor who walks down the aisle pantomiming sel-sellingling popcorn to audience tightrope walker lion tamer announcers etc see diagram below for approximate stage position 42

CIRCUS POSITIONS

A tooters going B weight lifter and helper C selling popcorn to audience downstage left aisle D liondion tamer and lion E announcer walks upstage introducing circus acts direction of movement indicated by arrow F juggler

NARRATOR I11 no 1 circuses I1 all freeze

NARRATOR 2 no 14 but this was only sporadic most entertainment and socializing was devedevelopedlopealoped at home like the debate club literary society and chochoirir set up and freeze on stage see below for position diagram POSITIONS FOR NAUVOONIAUVOO CULTURAL activities A debate clubs B nauvoo literary society C A choir X X D choir director X XX

debate club freezesunfreezeslanfreezeslanunlun and ad libs debate for example yes no0 IT tt yes if no it 43

no IT17 breaks from debate group debate clubs debate club freezes literary society unfreezes and says sahhshhh to the debate clubs

no 8 faces audience the nauvoo literary society literary society freezes choir quartet with chorister leading unfreezes and sings in fourpartfour part harmony the word choirs is sung using four descending notes of the scale and is repeated see appendix K entry 3133. 1

CHOIRS

choirs 5 choirs choir freezes debate club unfreezes and pantomimes corn husking see diagram after jumping for stage positionpositionsdpositionspositionedsD no 4 breaks from corn hubuskersskers corn husking corn huskersbuskers freeze nauvoo literary society unfreezes and pantomimes quilting bees the men in group pantomime quilting like women using ffeminine gestures see diagram after jumpingM forcorfoycocL stage positions

no 13 breaks from quilting bee quilting bees quilting bee freezes choir freezesunfreezesun two men pantomime stick pulling see diagram afterafter ft H I1 jumjumpingpingding others 5 watching cheer their champion on saying go go GO 1 one player pulls the other over and group cheers

no 111 Stickstickpullingpulling 44

no 2 runs ffromrom back of crowd jjumpsampsumps over stickpullers to downstage left see diagram after jumpingumdi1 ng for jumperjumpers position at beginning and end of jumpdjump D runningRunninrunningfrunningsgf

ALL yelling in unison jumping

POSITIONS FOR NAUVOONALFVOO SOCIAL activities asxsx are approximate A corn husking B quilting bees C stick pulling D beginning position for jumper E end position for jumper

stickpullingSTICKPULLING two men sit facing each other with their knees bent and feet touching they hold a stick between them and see who can pull the other one out of position first

all but six or seven of the company form band playing improvised marching masicmusic as they march from downstage right to downstage left the rest of the company pantomimes spectators excitedlyeaclxclitedly watching1 the band no 17 breaks from band the nauvoo brass band

no 13 balkiwaikiwalkiwaikingwalkingng downstage the nauvoo dramatic society 45

band and spectators dissolve and form balcony railing on the platform inilalihlib front of the blocks nauvoo temple two cast members become gargoyles on either side of the balcony juliette no 7173 removes steeple from temple and hands to another cast member who sets it in upstage block area with other blocks not being used jaljaijuljuilettejulietteette climbs on top of blocks using them as balcony see appendix I1 figure 616 the remaining cast members except romeo and prompter become audience for a shakespeare production sitting with backs toward center audience JTJLIEjulletteJULIETTE no 7 peering from balcony sighing oh romeo romeo wherefore art thou romeo sees him and gasps

ROMEOROIAEO no 17 speaks from below balcony looking up speaks haltingly as though unsure of his lines and with an accent what soft what light through yonder window pane breaks romeo stammers as if he forgets what to say next uh uh

prodPROIPROMPTERepteraPTER no 13 kneeling on one knee on stage left as though giving offoffstagestage prompting in a loud whisper it is the east ROMEO no 17 assenting to prompter at first then building line to a triumphant con- clclusionusion it is the east and juliette is the simsuni romeo bows and cast audience claps

NARRATOR 3 no 2 the st louis atlas wrote aboutcabout the Morcormonsmormonsmons theatre and audience break up members of the cast form couples and sit on various parts of the stage as if lounging at home the men reading 46

newsnewspapersqa dersaersoers and the women reading over their shoulders knitting etc see diagram below for possible positions of coucouplesdiesplespies 1

POSITIONS FOR COUPLES

CITIZEN OF ST LOUIS no 8 As if reading newspaper they present the appearance of an enterprising industrious sober and thrifty population indeedindeed as in the respects just mentioned have no rivals east and we rather guess not even west of the mississippi

ALL in unison and looking up what all freeze NTORNARRATOR 2 no 14 these enterprising industrious cicitizensQ lzensfzens were from all walks of life and from all over

NARRATOR 3 no 2 jumping up and ffacingac-l ng audience the brownings are an example

JONATHAJONATHANJONATHAWW BROMINGBROWNING no 11 stands walks up on platform my name is jonathan brotrnlbrowningng ffromom tennessee whilewhilleaieeie working for a neighbor when at the age of thirteen I1 saw an old flintlock rifle and agreed to be paid for my labor with the gun even though the lock mechanism was broken and some parts were missing Pantopantomimingmiming fixing the gun I1 took it home repaired it and had a gun of my own word got around

Ccrowd gathers around asking him to fix their sunsguiasguns then quiets down so he can talk over them 47

JONATMTJONATHAN BROWNING no 11 and I1 learned blacksmithing and repaired guns for neighbors all freeze jonathan breaks from frozen crowd and goes downstage right to meet parker

JONATHAN BROWNING no 11 but I1 needed to know more so I1 went to nashville and apprenticed with a mr parker

SAMUEL PAPARKER no 15 pantom2pantomimeme working together that boy was bright he worked hard and learned quick even though we had agreed he would not be paid as an apprentice I1 offered him 2002002.00 per week to work for me both freeze

NARRATOR 2 no 14 breaks from frozen group on platform eight years later in 1834 jonathan moved to quincy illinois to join a cousin who was a lawyeriamlamyer freeze

NARRATOR 3 no 2 breaks from frozen group and he did well in town he bought several pieces of land for development around the city he made most of these purchases at the sheriffsheriffs tax sales cast forms group at auction on stage right side of platform they bid silently no IT17 as auctioneer stands on platform cast establishes relationships such as sisters or couples at auction etc

danteldamedDAMELDANIEL H WELLS no 10 I1 was in carthage for a sasalesaie1Ite there was a welltodowell to do gunsmith a mr browning who took some interest browning and wells approach each other and shake hands no 10 continues in what I1 had to say about joseph smith and the Morcormonsmormonsmons but I1 told him to go see for himself

JONATHAN BROWNING no 11 I1 told elizabeth LR 1

JONATHAN BROWNING no 11 takes elizabeth no 4 from crowd what wells had said and cast forms boat moving toward stage left as browning delivers line see diagram below1belowbelows 1

A STEAMBOAT

this boat is almost the same as the maid of iowalowa see page 39 one difference is that the back is made of two men A and B who take the long cylinder block and hold it on either side they turn it clockwise as C puts hands down and flaps hand like water under a paddle wheel boat whistles and C goes sahhshhh for the water the boat also travels toward left stage

JONATMTJONATHAN BROWNING no 11 continues in the summer of 1843 we took a steamer upstream to nauvoo steamboat whistles and moves to stage left side of platform freefreezeszes cast that remains becomes townspeople in the city of nauvoo stage right jonathan and wife get off boat onto lower platform

NARRATOR 3 no 2 the meeting with joseph was apparently most impressive cast welcomes brownings as new members of the church

NARRATOR 2 no 14 on august 10 1843 jonathan and his wife elizabeth were baptized members of the church of jesus christ of latterlatterdayday saints

cast ffreezesree ze S

JONATHAN BROWNINGBROWNIING no 11 breaks from welcoming committee ILO 49llolior 7 we sold our home in quincy and moved to nauvoo we lived in a log house first 3 but later built a modern brick one part of cast forms house see diagrams below others remain frozen except for neighbor women

BROWNING HOME

A cooling well B cellar C bustle oven

A 6 COOLING WELL fcp A and B sit with knees propped up and fcc arms in a w circle

CELLAR

r kneels downown with head on floor and arms folded under

BUSTLE OVEN stick behind out like a bustiebustle curve arms as shown place oven r1ra so bustle can be seen by the audiaudienceencle 50

ELIZABETH BROWNING no 4 we had a nice home the new one

elizabeth shows features of new home to neighbor women

ELIZABETH BROWNING no 4 takes something from cooling veilwellgeligellgeil it had a cooling veilvallvaliveliwell part of cast for brownings shop un freezes and becomes metal melting forge lathes and vices see diagrams after it had a gunsmith shop neighbor women ad lib oh look at that etc elizabeteellzabethELIZABETHZABETH BROWNING no 4 lifts up cellar door as if shovingshowing it a cellar neighbor women ad lib oh and your sitting room and oh the bedrooms etc

ELIZABETH BROWNING no 4 walks over to the bustle oven and heres the best part a bustle oven ad lib from neighbor women oh

JONATHAN BROWNING no 11 it had a gunsmith shop

BROWNING SHOP

A metal melting forge B lathes C vices D position for the use of the sandsandcastingsanddastingcastingeastingdasting box 51

fiTALMETALIf MELTING FORGE A lies on groundongroundunground on his side browningbrowningmovesmoves his legs up and down totomakemake him blowbiowbloweblowb BBbab1 sitting cross legged makes hands flicker like a fire in front of his face

LATHES

Asat s left arm on shoulder of B right arm extended in front with fingers spread like a blade B I1 s right arm on AAsI1 s shoulder and left arm on CsCG shoulder B faces right stage CsC Is right arm on B Is shoulder and left arm extended in front with fingers spread like a blade Bs right foot sticks out like a pedal when browning turns lathes on by pressing pedal with his foot A and C buzz and turn hands like a saw

VICES

A and B sit with knees up and feet to- V gether facingfacing each other hands are clinched in fists when moved right fist of aandaana left fist of B move together and vice versa fists start apart and browning closes these vices by pushing the fists together

JONATHAN BROWNINGBROWNICTG no 11 continues complete with metal melting forge operates bellows and blows fire several times walks to sandsandcastingcasting box see D on position diagram aboveabove12 faces center audience and pantomimes taking gun from sand sandsandcastingsandcasfcingeastingcasting box demonstrates operation of lathes lathes freeze lathes struggling to close vices and vices I1 invented several types of repeating firearms those were good times in nauvoo 52

jonathan takes sons nosno s 15 and 17 and shows them how to operate the tools

NARRATOR 1 hono 1 his sons learned the trade at their fatherfathers workbench and he and they ventwent on to invent the famous browning automatic pistols 3 rifles and machine guns usedu1sed by armies and sportsmen around the world father and son freeze all remain frozen except for narrators

NARRATOR 2 no 14 but not all were pleased

NARRATOR 3 no 2 thousands of mormons were spilling into the area around nauvoo into hancock and adams county and into iowa

NARRATOR 1 no 1 elections were coming up twenty thousand people could swing an election better get them outiout 1 cast gathers around platform with the narrators standing on lower level of platform and talking above them cast shouts threats to move on to narrators they cower against temple thatsthat still standing on platform see appendappendixappendixlxalx I1 figure 717.1

NARRATOR 2 no 14 and they did

NARRATOR 3 no 2 the prophet was imprisoned on false charges of treason crowd continues to build momentum shouting until the word shot narrators talk above noise of crowd

NARRATOR 1 no 1 and on june 27 1844 he and his brother hyrum were attacked by a mob in carthage jail and were NARRATORS 1 2 3 nonosIs 1 2 14 shot all freeze for a moment then women turn away from narrators toward audience with sorrow and feeling of loss 53

WONENWOMEN joseph rise and walk toward various sides of the audience

MEN turn toward audience I1 gone I1 rise and valkvaikwalkwalls toward different sides of the audience brigham no 15115 steps up to lower platform with back toward audience all remain frozen for a short time brigham turns toward audience as cast turns toward him

ALL BrigbrighambrighamihamI

BRIGHAM YOUNG no 15 I1 came from vermont worked as a carpenter heard the mormon story from samuel smith I1 believed it and brought my friend heber kimball to see this joseph and stayed I1 led the people west cast goes to build wagon see diagram below dotted line indicates vagonwagonwagons position on the platform

PMTFOWalforATFORM arrahfntarran6emen7 WAWN SEA T

FRONTONT

use same blocks as for the nauvoo templetempietempleydempley but turn them if necessary to show a new color for the wagon sides note that the wagons position on the platform is the same as that of the nauvoo temple diantha claytonclaybon no 828 driver no 11 and rider for the back of the wagon no 7 L climb on the wagon diantha pantomimingpantornpantoonbalnetaing 54 holdhoidholdingng a baby and the driver sit on the front seat see appendix I1 figure 8 for photograph of wagon and yoke of oxen the following dialogue is said quickly as wagon is built no I11 lion of the lord I1

no 12 colonizer I1 no 16 modern moses

no 7 created a city no 8 an alphabet

no 4 a currency

no IT17 universities

no 9 stores 3

no 10 farms

no 11 telegraph lines

no 13 railroad 5 no 6 theatresthetheartresatres

no 5 bands and banks 3

ALL and temples

NARRATORNAJRRATOR 2 no 14 he sent people to start 365 citicities1 es and towns he was a governor 55

narratornarrNARFNARFATORNARRATORATOR 1 no 1 president

NARRATOR 2 no 14 and prophet of god cast members pantomime crossing the plains gathering together as if walking by the wagon

NARRATOR 1 no 1 brigham young led the mormons vestwest and helped the nation too out of nauvoo they were driven in the winter snow and ice across the plains of iowa they pushed organizing an exodus

61 NAORNARRATOR 3 aboheoneonohbo 2 william clayton suggested the first odometer and wrote a song WILLIAM CLAYTON no I171 I1 was official camp journalist for brigham young on the first trip in 1847 mumbles and repeats the words of next sentence as he gets dizzy by watching the wagon wheel turn I1 counted the turns of the wagon wheel to make the miles the first few days to keep track then I1 suggested a crosses to brigham mechanical device harmonica sound as they sing come come ye saints n ddsLDSljljjymlymjym no 13 J DIADIANTHA FARR CLAYTON no 8 still riding on wagon holding baby the song was for me dianthadlanDianthra clayton and for our new son william clayton helps diardiandlandianthadianthatha his wife off of wagon she hands baby to someone to hold DHAolanthaDIANTHA FARR CTAYTONCLAYTONCTAYTON deadencontinues I1 was left in nauvoo in march 1846 because I1 was due april 15 1 the word got out to william and he wrote all 2iss well company sings and pantomimes making camp on various parts of stage as they sing song come come ye saintsldssaintsilds hymns 13131 first part of song played by harmonica during dialogue company beabeobeginsins singing where none shall come to hurt or make afraidafraidrald 56 cast members sing as make fires varrwarrwarm themselves gather logs etc

ALL where none shall come to hurt or make afraid there the saints will be blessedblIbisbinessed welweiwellweil make the air with music ring shout priases to our god and king above the rest these words veiwelweiwellweilweli tell all is veliveilwell all is well warm lights suggesting summer NARRATOR I11 no I11 summer wannedwarmed the earth turnedfumed the roads to mud or dust and brought the army west

CAPTAIN ALLEN no 12 walks in from downstage left aisle captain james alienallenailen is my name I1 come from colonel kearney he wants 500 men in mexico to ightffight

MORMONS stand up and are humiliated speak alternately from different sides of the stage no 14 we didntdiandlan want to go no 7 people of the states had pupushedhed us so

no 4 we were driven out without shelter food orlandoriandodlandor land hono 11 why serve uncle sam

BRIGHAM YOUNGYOTJDTG no 151 stands on platform trying to con- vince them it is a blessing that is for sure money here wellweilweliwerli have and provisions for the poor come brother sign up here indicates tabletabietabile block downstage leftleftblefeb the blessings soon will appear

flenfaanMENTAEN no 13 over five hundred of us were mustered in on that july 16 1846 men pantomime signing papers for the battalion on a block downstage left 57

CAPTAIN ALLEN no 12 an unusual bunch these Morcormonsmormonsmons I1 told my men that is the only battalibattalionon in the united states army in whwhichich every man can ssignignagn his own name it begin to take wagon blocks down women begin to prepare for ball pantomime fixing refreshments etc bring out square block and place right stage to be used as a refreshment table

WOMAN no 1 we gave them a ffarewell ball we sent them offoff in style

piano polka music see appendix K entry 414.1biU men get partners and polka to upstage left four on platform as though playing instruments fiddle flute drums etc hug and say goodbye captain alienallenailen goes to downstage right aisle during dancdancinging

CAPTAIN ALLEN no 12 attentionattentioniattentionsAttent loniioni men straighten in attention and march across stage to upstage right

no 17 we marched off to theche tune of the girl I1 left behind me no 13 and before we were through she was 2000 miles behindbehindf girls wave goodbye leave and go to different entrances to enter as bulls ONE MAN 010-no 17I1 at ft leavenworth we received arms and money for clothes pantomime receiving supplies and being paid two men nosno s 15 and 16 stand on platform and give each matman clothes and money as he marches by

ONE MAN no 10 the arms we carried ONE MAEMAN no ll11 the clothes we went without 58

BRIGHAM YOUNG no 15 so 2100021 000ooo could be sent tobo our familifamiliesf es to help them on their way become tired on march and collapse on various parts of platformofplatform no 16 near front sits on top of platform all sit as if trying to ease the pain of their march fighting flies hirst etc

ONE MAN no 16 writing poem on paper we kept journals some were even poets and wrote in verse of our trials our hardships reach their rough extremes when valiant men are roped with teams hour after hour and day by day to wear our strength and lives away the teams can hardly drag their loads along the hilly sandy roads while vellingtratravelling near the rio grande oroter hill and dale of heated sand we see some twenty men or more with empty stomachs and footsorefoot sore bound to caecnecue wagon plodding on through sand beneath a burning sun

ONZMANONE marMAN no 10 between the rio grande and tucson we fought olarour only battle

ONE MAN no 12 they veretverentwerent mexicans they were bulls girls run on snort and chase men like bulls men shoot them and bulls fall dead at their feet

FOUR MEN no 11 tt ll we gave emm what for with our muskets and guns dropping them here and there we counted up after and found sixty were killed fine food for military life carry bulls upstage ad libs you sure itsit dead im1 sure its dead itsit a lot of beef helheiheiikeilwelwell never starve women exit to places of entrance on gold discovery men march from left stage across to right stage and up on platform 59

ONE MAN no 17 As if looking toward ocean offoff left stage on we marched on over desert and plain until the ocean we could see san diego was a welcome sstehtightsight1

ONE mannomanMAU no 16 said like attenhattenhutAttenhutut attention I1 men stand at attention on platform no 16 our commander colonel cooke was a hard and forceful man but commended us for our march f men in group on platform listening to leader

COLONEL COOKE no 13 walks forward history may be searched in vain for an equal march of infantry half of it has been through a wilderness where nothing but savages and wild beats are found or deserts where for want of water there is no living thing thus we have dug deep wells made our way over mountains and chartered a road of great value to our country

MEN yahoo men freeze with arms in air forming an exciting stage picture see appendix I1 figure 991 see diagram below

YAHOO POSITIONS

A colonel cooke B mormon battalion

no 14 we then built a courthouse school and bakeshop in san diego we fired the first brick down there and were featedfeared by the citizens when we left 60 men pantomime working along a trough one

man finds a piece of gold 3 at the top of platform and passes it down from person to person

ONE MMMAN no 16 some of us went north to work for mr suitersutter while there we dug a mill race and started a rush receives gold nugget and passes it on for it was us who discovered no 11 the last person to receive it no 11 turns to audience and excitedly recog- nizes the nugget gold

WOMEN gold women rush on to see it women gather upstage center with backs to audience in group to talk of discovery look up and see men approaching women watch them men walk over platform Iinfn1 line like retutalretunalreturning1 ng home

MENMMT no 10 we came back east to utah in the summer of 488 bringing voldwoldwoidgold and seeds and stories to be told early and late women recognize their husbands run and hug them calling them by name men sits iti with women on platform pantomiming telling of feats make stage picture just evenly spaced so it looks good men speak as if telling their wives of their adventures

MMYYANmanAN ONE no 15 we had proved mormons good citizens worthy of land

MAN tuoWOTWO no 13 and we chartered a road for the southern pacific railroad MAN THREE no 17I1 dug wells and made maps

MAN FOUR no 10 earned money and found gold

ALL MEN A nation was changed because we marched with the mormon batallionbataibatelbatallioniBatalBatallionlioni 61

women proud freeze

NARRATOR 3 no 2 by 1870 86000860oo86000 people had followed the trailtotralltrail to deseret and by 1890 many towns had been founded castnemberscastmesmbers coucouplesCoqplespies run energetically to various parts of stage and pose first number refers to person giving line second to that dersonsdersonpersonpersons partner nonoss 13 and 2 farmington bevnevnewmew mexico nonoss 16 and 1 mesa arizona

nomb s 12 and 4 pueblo colorado noctos6s 6 and 14 star valley wyoming afoslmosnoifoss 11 and 8 soda springs idaho nosanonos5s 5 and 10 las vegas nevada kono sass99 and 15 san mardinobernardinoBe california nonoss IT17 and 7 and towns all over utah cast members change poses when they say the utah towns

no s 2 and 13 ogden hognoghosno s 14 and 6 logan nosno s 4 and 12 provo

nosno s 166 and 1 st george 62

yosnosno Is 9 and 15 oraervilleordOraorderervillevine nonoss 10 andana 5 moabmoab and

ALL salt lake city

NARRATOR 1 no 1 salt lake haahad all the things organizedorganizea and constructed in nauvoo

NARRATOR 3 no 2 and morenorelmorel I1 figorDTAORNARRATOR 2 no 14 there was the deseret dramatic association which gave plays company forms balcony with gargoyles again see appendix I1 figure 6 instead of blocks juliette no 7 kneels on top of platform ROMEO no I171 arise fair sun and kill cast members make thunder sound lights dim suggesting a storm cast pantomimes rain falling on their heads even gargoyles react ROMEO no I171 continues the envious moon uh uh uh for thou art more fairfair NARRATOR 1 no 1 but they needed a home

NARRATOR 2 no 14 so we built the salt lake tiletlleTIietheatreatre company builds theatre over the DDA cast holds hands up over them see diagram below freezes lights get brighter like the sun came out 63

THEATRE ROOF OVER DESERET DRAMATIC association several people hold arms over the balcony scene of the DDA

NAPrapNARRATORdRATOR 3 no 2 of this TT cathedral in the desert as henry miller called it a massachusetts newspaper editor samuel bowiesbowles wrote

SAMUEL BOWLES no 16 in boston accent the building is itself a rare triumph of art and enterprise it ranks along with the opera houses of boston nevnew york and philadelphia freezes

NARRATOR 1 no 1 there needed to be a place for large church meetings cast members squeeze together on platform simulating lack of room feet over shoulders heads out in weird places and expressions on faces ad frustrated tt libs excuse me oh brother 0O excuse me I1 ft

BRIGHAM YOUNG no 15 stands with back to audience as if addressing a general conference brothers and sisters brothers and sisters may I1 have your attention please henry grovgrow and william folsom we are calling you to build the salt lake tabernacle all those in favor man- ifest it by the upilupliftedf ftedeted hand cast struggles to raise up hands see appendix I1 figure iollollo10110.11010.

HENRYY GROW no 10 stands I1 had recently built a bridge over the jordan river using wooden triangles and arches without center supports but we vedewedeverewere short of nails to build the building so we used wooden pegs and rachirawhirawhideede 64

NARRATOR 1 no 1 for over one hundred years the tabernacle was the voriaworldvoriasworlds largest hall without internally su-supportingpporting columns company moves apart and comfortably sits and admires building around them

NARRATOR 2 no 14 it could seat 8000 people when completed in 1870

NARRATOR 3 no 2 and it was internationally known for its accousaccoustlcalaccousticaltical properties JOSEPH H RIDGES no ll11 I1 used those properties when I1 joseph H ridges designed and supervised the construction of the first tabernacle organ company build organ see appendix I1 figure 11111.1illlil11 ridges polishes keys and walks upstage behind organ NARRATOR I11 no 1 the organ has been remodeled several times and now has over 10000 pipes five consoles control the divisions of the organ company divides into sections and singsslings different note on tt ah as no 15 plays on each console ends in four part harmony see appendix K entry 55. ORGMSTORGAMST no 15I1 the pedal the choir the swell 0 the great the solo no 7 hits high note in harmony with the chord JOHN JASPER mcclellanmcc no 151 As he stands from playing the organ I1 john mcclellan was tabernacle organist for over 25 years and I1 was awarded by the eingking of belgium with a gold medal of the order of king leopold for ala concert I1 gavelgave 65

no 17 comes and kisses hono 15 on alternating cheeks as the french do the french part of belgium

aleyanderALEKAMERALEXANDER SCHREIHERSCHREINER no 12 comes out from organ as one of keyboards and mcclellan takes his place and I1 alexander schreiner was tabernacle organist for 53 years makes gesture toward mcclellan as though saying 1 I was in longer than you ft I1 was awarded the officerofficers cross of the order of merit by the west german government

PRESENTERPRESEN ER no 13L pins award hard on schreiner who sinks from the weight of it ach du lieber

NARRATOR 3 no 2 and there are the singing saints of the mormon tabernacle choioholchoir3

company forms1corms into a choir no 16 back to audience leads them in the battle hymn of the republic conductor pretends to tap his baton and pianist makes the tadtaptappinging sound on the diadlapianowithpiapianonowithvithwithgith pencil

NARRATORNARPATOR 3 no 2 standing apart from choir news of the choirs excellence spread and they were invited out company moves to indicate each location no 2 speaks over singing choir turns different direction for each location mentioned choir turns stage left

NARRATOR 3 no 2 in 1893 at the columbian exposition in chicago choir turns toward downstage left hands clasped in front to the white house by invitation of president and mrs william howard taft 66

choir faces front

NARRATOR 3 hono 2 new york worldworlds fair choir faces stage right conductor climbs on cube block starts leading audience by mistake then turns to each of presidents as their names are mentioned

1958 white house concert by invitation of president dwight D Elseneisenhowerelsenhoweretsenhoverhower and johnson inauguration of president johnson choir faces front the 1976 united states Bicentebicentennbicentennialnnlaliallai tour they have been awarded two gold records and a granygrammy in 1959 forto the battle hymn of the republic choir finishes battle hymn of the republic and the piano begins As the dew from heaven distilling LDS hymns no 232 choir sings 000noo11000ooo at1t no 16 continues to conduct

NARRATOR 3 hono 14 stands from center of top platform and performed in the longest running broadcast series in the history of network radio eugene ormandy conductor of the philadelphia symphony called it

EUGENEEUGEUE ORMANDYORMAJIDY no 16 turns to audience the greatest choir I1 have ever conducted

EKKAEMMA MISAYbambayRAMSAY MORRIS no 7 sings out high notes of song being hummed choir fades I1 emma ramsay morris was raised in payson utah but I1 sang for many of the royalty courts of europe including kaiser wilhelm of germany some of cast fformorm piano with a page turner no 16 standing next to nibley see appendix I1 figure 12121121. 67

beddREIDREED NIBLEY hono IT17 at the age of 12 I1 reidd nibley made my debut with the glendale symphony reirel pianist begins playlplayingng a segment of the warsaw Uonconconcertocerto or other ffamousamous musical composition by a great composer nibley no 17 pantominespantomines playing the piecepieeeleee music stops and he continues and at 17 with the los angeles philharmonic orchestra I1 have appeared in extensive solo orchestral radio and television appearances all over the united states canada europe and japan pianist plays another segment on the piano as no 17 pantominespantomines playing it As he does no 16 steps out as james mason others not forming part of piano hide upstage behind it

JAMES MASON no 16 piano begins again I1 am james mason presidentelectpresident elect of the 65000 member national music educators conference cast forms a symphony orchestra on and downstage of platform and tunes up imaginary instruments gates steps out

CRAWFORD GATES no 121421 crawford gates composer of promised vallvailvalleyvailey and the hill cumorah symphony becomes a violin player NILLMERRILL BRADSHAW no 11 millsteps out merrill bradshaw composer of the restoration returns to playing instrument

LEROY J ROBERTSON no 13 steps out imfm leroy robertson my nusicmusicmusicstcbic3ic has been played extensively by the roth and paganinniPaganinni string quartets and by the houston toronto and los angeles symphonies robertson raises baton to start to conduct them 68

ROBERT lermanIERMANHERMAN SAUER no 10 interrupts before robertson can go on steps out speaks wwith1oth heavy german accent moment bitte cast forms line over platform so that tallest point is the center stage on the platform cast members stand on levels as to form a ladies choir each choir member holds his hands in front I of him see diagram below 1

springtime IN THE ROCKIES approximate positions for cast members are shown here they fold hands together in front at waist

ROBERT HERMAN SAUER no 10 I1 robert herman sauer should be mentioned too I1 put music to mary hale woolseywoolseys poem and made enough money to pay off the mortgage and buy a new car I1 why you remember ititt springtime in the rockies company sings first line of when its springtime1 in the rockies see appendix K entry 616 as sauer no 10 leads them all freeze

NARRATOR 2 no 14 steps out around the tabernacle statues came to stand cast members go into poses for statues r see diagram below for several of the statues and for their stage positioning see appendix I1 for other sculptures as mentioned in the script below after they get into position sculptors pantomime working on statues blocks used indicated below 69

ANGEL MORONI

right arm is held up holding imaginary trumpet he faces left stage

TEMPLE DOORS A B washington 9 to open doors johansen pulls left arm of A and right arm of B forward so that A and B arebackacrebackare back to back to close doors he pushes arms of A and B and they return to their front view original position

POSITIONS FOR STATUES AND ARTISTS

AsA angel moroni A dallin r B youngyoungs three works E A blBI young x x x A C smith and hansen 13 A Y X D tragedy of winter quarters 6 dfDI fairbanks a E washington temple doors xx elef johansen F mount rushmore flff borglum

borglum positions four people for mount rushmorerushBushmore they cover their faces with their hands and remove them as he carves

NARRATOR 2 no 14 mormons were sculptors too 70

CYRUS E DALLIN no 15I1 indicates statue see above diagram I1 cyrus dallinballin whose ancestors had crossed the plains sculpted the angelan e 1 moroni on top of tresaltthesaltthe saltsait lake temple turns and goes to work on bottom of statue MAHONEIMAHQMI YOUNG no I171 indicates his masterpiece see appendix I1 figure 13131131. I1 was a grandson of brigham young I1 created the sea gull monument claps hands twice to change statue into hyrum and joseph see appendix I1 figure 14114.114 the statues of ae&ehyrumum and joseph 0 claps twice to change to this is the place see appendix I1 figure 15151151. J and thithlthiss is the place monument you may know me mahonri young pantomimusPantopantomimesmimes working on statue

AVARDAVABD FAIHBAMSFATBBFA irbTBB no 16 indicating his statue see appendix I1 figure 16 1 the tragedy of winter q81quarters avard fairbanks received the herbert adams memorial medal for distinguished service to american sculpture he also received the medal of the knights of ther mopylae from king paul of greece and the lincoln medal from the congress of the united states pantomimusPantopantomimespantomimlesnimesmimes working on the statue

FRAMZFRAITZ JOHANSENJOHABSEN no 11 indicates doors my associates and ly1 franz johansen created the bronze plaques on the washington temdletempletempie gate and doors opens and closes doors see diagram above for explanation

DENNIS SMITH no 14 walks over from this is the place monument and takes no 9 ffromromcom tradtragedyTragedg of winter quarters they stand together and we dennis smith and 71

FLORENCEFLORIDTCE PETERSON BANSEN no 9 florence peterson hansen havehcavehaave prepared thirteen statues for the garden of women in nauvoo illinois waikwalktwalatwalk ttoz stage right

GUTGUTZONZON BORGLUM no 13 completes work on faces and I1 gutzon borglum son ofaof a danish convert created the faces on mount rushmore four of company pose as his carved faces onesone eyes are crossed after he finishes see appendix I1 figure 17117j he notices it and puts it back into position

CLARK BRONSON no 10 freezesunfreezesUn from prior position as angel moroni and walks to front of top platform all unfreeze and question who he is well ivelveIVQ done some things too ya know I1 like wildlife sub- jects and won first prize in the national art competition in 1957 and I1 have three silver medals from the cowboy hall of fame and I1 was elected to the national academy of western art ad libs from company members if who are you whatswhat your name clark bronson

company ad libs oh I1 bronson freezes

NARRATOR 3 no 2 sticks head through bronsonbronsons legs mormons have been painters too

gladeGUIDE TO ART MUSEUMMLBETZI no 14 if youdyouayou just like to step this way we have the most exclusive part of our collection takes cast around pantomiming showing paintings composed of center audience cast asks questions softly as christensenChrlstensen talks CCA christensen no 171 I1 recorded the history of the mormons with my paintings and travelled around the mormon settlements in the late 1800s1800 now my paintings travel to the new york metropolitan museum and the smithsonian institution all american art historians know me CCCAcoaCA christensen 72

no 10 unfreezes to become moses

ARNOLD FRIBERG no 11 I1 painted a series of pictures for the ten commandments a film by cecil B demille cast gathers on platform as if making movie of moses opening the red sea have cameramen note taker and artist

CAMERAMNCAMERAMAN no 13 ten commandments 3 take one music moses raises hand and music begins see appendix K entry tl717.17

CAMERAMAN no 13 brings arm down cutoutculloutiouli music stops all freeze ARNOLD FRIBERG no 11 steppingeddingsteppingstedding forward arnold friberg is the name NARRATOR 1 no 1 and photographers cast gathers around platform as though children getting ready for a school picture cast act interested in camera teacher no 4 prepares children fforor pipicturectureacture

GEORGE EDWARD ANDERSON no 151 concomingcom-a ng out0ut ffronfromrom undeunderr tthehe ccameracamereame ra cover the smithsonian institution and the boston museum of fine arts sponsored a bicentennial exhibit of my photographs of early utah people and places perhaps you remember it it was called the george edwardedward anderson exhibit OK now kids watch the birdie takes picture children make faces and freeze for a moment no ll1115 panto mimes folding up camera and set4setasettinging it upstage as dilworth speaks cast unfreezes and acts like crabby kids sitting on platform stealing paper from othersothersy etc teacher reacts to them 73

MARY JANE DILWORTH no 4 steps out and works with kids even though we had some school work while crossing the plains I1 mary jane dilworth was salt lake citescitys first school teacher I1 was only 16 at the time but I1 made sure my students learned

NARRATOR 2 no 14 every ward had a school

naf3atorNARRATOR 3 no 2 and the university of deseret was chartered by the legislature in 1850

NARRATOR 1 no 1 its now the university of utah KARL G MAESER no 13 steps out right stage of Y speaks with german accent and a few years later brigham asked me karl G maeser to go to provo and start a school it later became brigham young university cast except talmage no 12121 forms small Y on platform and smiles some of my students have done very well too freezes

JAMES E TALMAGE no 12 walking forward james E talmage pointing to self pres was one of them 1 I taught at BYU and was president1adent of the university of utah at age 32 and was

CAST MENBERSMEMBERS say from position in the Y

no 7 fellow in microscopic society of london no 16 fellow in the royal society of edinburgh no 8 fellow in geological society of london

no 9 fellow in geological societsochetsocietyy of america 74

JAMES E TALMAGE no 12 the most important honor I1 received was being called as an apostle

KARL G MAESER no 13 my little BYA became the huge BYU cast expands to a large Y with over 25000 students the largest private university in the nation weeweve turned out over seventy college and university presidents cast takes places on various parts of platform as if secretaries do their work make up their own phone rings and answer the phone like secretaries of the following people

COMPANY

no 11 ring ring ring vern 0 knudsen chancellor of UCLA

no 15 ring ring hello howard W mcdonald president los angeles state college

no 10 ring 00 meredith wilson president university of oregon and of minnesota

no IT17 ding dong john T wahlquist I1president san jose state college

OPERATOR no 2 slightly downstage right from platform university of utah former presidents were

no 9 ding james E talmage office 75

no 4 ring office of A ray oldinolpin no 1 arringdrring ofofficefleefice of james C fletcher may I1 help you

no 7 dong dong david P gardnergardners s office just one moment please president gardner holds phone toward gardner

DAVID P GARDNER no 12 takes phone from secretary I1 was also vicechancellorvice chancellor of universityunive rsiarsiaty of california santa barbara and vice president university of california system

OPERATOR no 2 utah state university fformerformedormedormer presidents were no 8 ring joseph M tannertanners office no 6 ring franklin S harriss office

no 5 ring office of H aldous dixon

no 3 ring good afternoon dallin H oaks Iss office why he was in oh here he is now

DALLIN OAKS no 10 takes phone from secretary upstage right speaks as if talking on the phone yes yes this is dallin oaks speaking why yes id be happy to I1 was professor of law at chicago before coming to BYU ahhuhAh huh well between 1975 and 77 BYU turned out three rhodes scholars the same as stanford chicago and columbia and leads the nation presently with three danforth fellows ah huh yes we do we have the best indian program in the nation with members of 77 tribes from 38 states

OPERATOR no 2 oh but dallin oaks has done some things too

DALLIN OAIMOAKS no 10 oh I1 havenhavent done much 76

COMPANY cast members are again operators in same position on stage as before and answer phone after they make the ringing sound As nanamesmes of companies are stated oaks runs around answering various phones ringing from different sides of the stage As he answers he gives position he holds in the company mentioned this must occur very quickly the rings must be immediately followifollowsfollowing1 ng dallin oaksoakstbakstI1 s lines no 17 ding dong american bar foundation yes just oneon moment

DALLIN OAKS no 10 executiveexecutexecute 1evem director may I1 help you

no 9 bingbingibaingi bingbingibaingi association of independent colleges and universities

DALLIN OAESOAKS no 10 president

no 11 biz BIbizzzbizzozzzazz bizz public broadcasting service DALLIN oakoarsOAMOAKS no 10 board of governors

ncno 7 brrringbarring brrringbarring deseredeseretdesere1515 news publishing company

DALLIN oarboarsOAKSOAEB no 10 board member no 16 palum palum palum hello woodrow allsonwllsonwilson international center for scholars

DALLIN OAITOAKS no 10 advisory counselcounse1counse1 no 6 ding dong ding dong presidents council of the western athletic conference

DALLIN oarsOAESOAKS no 10 chairman 77

no 13 arringbrring brringarring church of jesus christ of latterlatterdayday saints

DALLIN OAKS no 10 yes sir regional representative whole cast begins ringing phones oaks goes to top of platfplatformplantform and answers phone

DALLIN OAKS no 10 hello

JUNE DIXON OAKS no 8 stepping downstage as if talking on phone its june your wife your six children and three grandchildren are wondering are you ever coming home for family home evening all freeze

NARRATOR 1 no 1 education has always been a very important mormon goal

NARRATOR 2 no 14 in 1961946 doctors hughes and lancelot reported

hughesnohugeHUGHHUGHESESNono 6 utah

NARRATOR 3 no 2 interrupting quickly 74 percent mormon hughes and lancelot argue with each other wanting to get last word in

LANCELOT no 7 easily outclassesoutclassedoutclasses

HUGHES no 6 all other states

HUGHES AND LANCELOT no s 6 and 7 in education pat each other on back congratulating etc

ALL utah wins 78 hughes and lancelot freeze

NARRATOR 1 no 1 mormons are all over in education NARRATOR 2 no lu14 we only have time for a ffeweetartar

cast becomes reporters 3 taping taking notes pictures etc of following persons

JAMES L BARKER no 13 I1 was first to do experiments with use of apparatuses in pronunciationI1 works with someone to help him pro- nounce correctly downstage left ad 111lib1ab1b ah A E

FRENCH OFFICIAL no 17 with french accent I1 award you with painspalmspalinspaljnspalans aat officer ddt Acaaeaacademicdemie u kisses no 13 three times alternately on both cheeks then salutes

VIRGINIA F CUTLER no 4 center stage I1 virginia cutler was deancollegedean college of family living BYU and helped establish national home economics associations in thailand ghana and indonesia and was utahs mother of the year

NARRATOR 1 no 1 with all this emphasis on education you might expect to find a mormon in washington

NARRATOR 2 no lu14 and we had one

NARRATOR 3 no 2 terrel H bell united states commissioner of education terrel bell no 17 boastfully comes up on platform pushes others away and begins to tell all of the positions he I1 s held afterafter a ffewew cast looks bored

TERREL H BELL no 17 just call me ted I1 was appointed by the president and confirmed by the senate I1 also received eight outstanding distinguished 79 or special service awards have three honorary doctorates so far and imfm nowutahnovnow utah commissioner of higher education no 16 looking tired weary etc dontdon mormons ever go out for recess

ALL

YES

cast members break into playground games evolveevojevoe ve into sports begin to set up for a baseball game pitchers mound on top of platfplantfplatformornorm home is downstage right see diagram below

BASEBALL POSITIONS

A pitcherpitchersI1 s mound B home plate C first base D center field lee iorglorg X umpire 80 all yell up to dunnduarsdunrss line and ffreezereeze ad libs come on here we go batter up lt tfcometocomecome on baby burn it in here strike detletslet play ball cast members ad lib as they go to positions begin play freeze action for each play introduction

PAUL DUNNDAJNN noon00no 17 steps to mound and pitches all freeze paul dunn world series pitcher for the st louis cardinalscardinallocardinalsoCardinaisealsealso id1 like to tell you a story 0 all unfreeze batter swings dunn ducks as ball goes over him

MANAGER noonon00 12 waves dunn offofto t no time fforor a story now paul 0 relief pitcher

STEVE EASTENFASTEN no 1 climbs to mound begins to pitch freezes in actionactionoantionoact ionolono steve fasteneasten pitcher for st louis cardinals continue action freeze as pitch goes and batter hits ball all of team watch as it goes over fence stage leftlefto freeze action s HARMON killKILIKILLEBREWREW no 133 they call me killer up in minnesota where I1 played for the twins they even retired my number 3 when I1 retired I1 was fourth in all time major league home rimscimsruns second to babe ruth in home rlrunsms per at bat I1 was most valuable player in the american league in 1969 and player of the year in 1991960 and 70 harmon killkillebrewbrew o pick up action again killebrew jogs to first freeze action

DANE IORG no 15 at first base position dane iorglorg Philadelphphiladelphiaphiladelphiaophiladelphianiaoibo killebrew runs to lee lorgiorg then freezes

LEE IORG no 10 lmim lee lorgiorg his brother I1 play centerfieldcenterfiela for the new york mets 0 81

killebrew continues to home plate amidst cheering and freezes

RON BRAND no 16 ron brand catcher for pittsburg houston and montreal

ALAN ASHBY no 2 oongcongratuCongcongratulatingratu lating killer out of freeze alan ashby catcher with the cleveland indians and the toronto blue jays pitcher is waved off mound new pitcher vernon law goes to mound nonoo 8 goes to plate law pitches no 8 swings

UMPIRE no 12 strike one 0 all freeze

VERNON LAW nonoo 14 im vernon law I1 won the cy young award in 190igo1960 as best pitcher in the major leagues alideoasideasideoAs ideo I1 won two world series gabeegamesgamee for pittsburgh pirates that year pitched professionally for twenty years and yes imm the winner of the lou gehrig avardawardacardoawardo pitches ball batter watches it whiz dastpastpastepestepesto freezefreezeefreezeoFreezeo UMPIRE no 12 strike tvotwotwoogwoo

STEVE mcnulty no 8 he comments on pitch as batterbatterobalterobatterotecoteno thatsthetthat some ditchpitch he does it right I1 ought to know imm steve mcnulty pitcher for the los angeles dodgers prepares for another fitchopitchpitcho pitcher throws ballbailbaliballo mcnulty svingswingswingsswingsoso UMPIRE n00no 12 strike three youre outtout I1 all cheercheerochearo field team goes to con- gratulate pitcher on platpiatplatformplatformoplatformyformo 82

group huddles and cheer starts rah rah rah team baseball game breaks up ad lib we want to play football etc etc go into beginning lineup for football two teams freeze cast members stand up from line position as they speak then return to their starting line positions can give some men character voices as desired from paul howard through danny white is one team on stage left

PAUL HOWARD no 15 standing up from line looking as big as possible imfm paul howard offensive right guard denver broncos

PHIL OLSON no 1 popping up for name and team only phil olson denver broncs

MARVIN BATEMAN no 17I1 marvin bateman buffalo bills

WILFORD WHITE no 9 wilford white chicago bears

DANNY WHITE no 2 danny white punter and second string quarterback for dallas cowboys number one in collegiate offense in 1973 leaning down to receive ball twenty three 42 43 hup hup hup hands ofofff the ball to keyworth 83

JON KEYWORTHORTH no 10 receivesorteball Iimm jon keyworth fullback for the denver broncos 0 action continues he is tackled by olson freezes action

MERLIN OLSON no 12 I1 got himi im merlin olson los angeles rams all pro lineman for ten consecutive years when my family and I1 go into the we woods 0 drink milk one of narrators acting as referee ggivesiives ball to other team center ball with carter right stage team huddles and says hup hup hup etc all line up and freeze

VIRGIL CARTER no 16 ready to receive ball for stage right team imI1 virgil cartercart r quarterback chicago fire bears and cincinnati bengelsBengals I1 held the NCAA single game total offence record all right hup one hup 14 hup 21 kelloggs corn flakesflakeso continue action with richards no 11 goingI1 for dasspasspasso As it is caught freeze 0

GOLDEN RICHARDS noonon00 11 golden richards offensive videwide receiver for the dallas cowboys action continues richards is tackled by nonoo 8 exits upstage left reentersre enters downstage left aisle as billy casper noono 8 becomes his caddy A cheerleader nonoe 3 goes to top of diatplatpiatplatformplatformoplatformyformo

SANDY BLACKWELL no 3 As cheerleadercheerleaderscheerleadero imm sandy blackwell miss cheerleader USA 1975 two four six eight who do we appreciate 0 0 0 freezes in position with arm up like flag in a golf hole see diagram below FLAG STICK FOR GOLF

puts right arm up above head waving hand like a flag in a gentle breeze left arm goes to side and remains stiff with igilegsgs together 84

talking as at a game players begin to gather and no 11 positions himself on downstage left aisle of auditorium

BILLY CASPER no 11

swinging club no 8 follows him carrying his clubs and another cast member moves behind the flag no 313 rest of cast becomes the gallery no 10 positions himself in downstage right aisle casper hits ball to stage crowd cheers gallery freezes imjm billy casper ivelve won over 50 tournaments since joining the tour and was the secondie golfer in history to earn over 1000000 may I1 have my seven iron please caddy hands him the club thank you I1 won the U Sso open in 1959 and 1966 the masters in 197019701 and the vardon trophy five times I1 was a member of the ryder cup team seven times and was player of the year in

no 13 picks up no 3 as though a flag and holds her see diagram below

8a MAN HOLDING FLAG STICK

A remains stiff as above with legs 4o40ao together B picks aupA up and holds her until he T replaces her as if in a golf hole

casper pantomimes putting in ball 196619669 68 and 70 puts ball in and picks it up Is congratulated etc no 13 puts no 3 down as the flag again golfer calls from downstage right aisle no 16 is caddy 85

JOHNNY MILLER no 10 fore everyone moves clear he pantomimes hitting the ball from downstage right aisle crowd moves so ball doesnt hit them walking toward crowd sorry some my game 5 ivelveitveieve been having trouble with lately im johnny miller twotimetwo time golf allallamericanamerican at BYU I1 won the U S open in 1973 and the british open in 1976 I1 was voted the outstanding athlete and golfer of the year in 1971974 changes clubs trying to swing if I1 could just get that swing going again puts ball in thatsthat better gallery claps

ALL ya hoo other ad libs company cheers shaaseamSHAMSHAW DAVIS no 2 up on bronc no 16 waving hat giving cowboy call as bounced around all freeze yahooooyahoooolYaHYaHOOyae0000OOOO001OOl shawn davis is the name fourtimefour time worldtsworldworlds champion saddle bronc rider calms horse rides off steer no 13 let loose comes on followed by kirt crabtree pantomiming riding a horse he goes off after steer grabs his imaginary horns freeze

KIRT CRABTREE no 12 kirt crabtree steer wrestling champion steer gets away two other riders no 14 and no 6 chase steer and win

TOM CLYDE no 14 downs steer steer bawls as he is downed I1 was 1974197 intercollegiate buldoggingBuldogging champion tom clyde

LANCE ROBINSON no 6 ties rope on steers feet and I1 was 1971974 national high school rodeo association champ lance robinson 86 all cheer SAM baddistonebabdistoneBADDISTONE no 2 calling from top platform to organize basketball team all for basketball over here people get balls set basket etc beeseeseediagramdiagram below two baskets one on stage right and other on stage leftlefto

BASKETS A basketball A sits on Bs shoulders AsA arms are round like a basket 8 and B holds onto AsA legs one basket is located stage right and the other is located stage left both face center stage

to audience sam baddistoneBaddisbaddistonestonestone the name I1 oianovan the new orleans jazz national basketball association team I1 also operate a chain of 750 sambosambolsgambols restaurants in 40UO states ad lib aw cut the jazz it I1 want a clean game going goes back to organizing game teams line up for jump freeze two cast members form scoreboard on top of platform see diagram below

basketball scoreboardSCORE EOARD A 0 A stands with arms bent 90 & at elbows B stands behind Q A putting up his fists as shown B registers score with fingers 87

one cheerleader on either side of scoreboard players popuppop up for identidentificationificationmication

PAUL RUFFNER no 4 paul ruffner buffalo

JIM EAKINS anocnono 11 jim eakins utah stars

BOB LAURINSKI no 17 bob laurinski italian national basketball

EDDIE palubinskas no 14 imfm eddie palubinskas 1976 olympics australian team all unfreeze pantomime playing game no 14 takes center jump play using dribble freeze

PHIL tollestrup no 13 with ball phil tollestrup captain of the canadian national basketball team ball is thrown to cavorting center in post position makes a basket

UMPIRE no 16 two

scoreboard registers freeze

KRESIMIR COSIC no 10 with accent I1 suppose you recognized kresimir cosic I1 play with the yugoslavian national team and have played in three olympics for my country all hum song of the olympics cast pantomimes playing on various instruments and line up to both sides of stage as awards are presented seijseowseesepj below forpor approximate idea of position lnaingingo cosic stands on top platformplatpiatplatformoplatformyformo each medal is put around his necknecko 88

approximate OLYMPIC POSITIONS

A cosic B presenter of awards X other cast members

no 14 mexico the 1968 Silverliversilversliverstiver medal no ii11 presenting medal marching up with goose step munich germany 1972 bronze medal

hono 17 presenting medalmedaimedalo montreal 1976197 silver medal gives three kisses on alternate cheeks song stodsstopsstopkostopso all freezefrefreezeefreezeoezeo KRESIMER COSIC hono 10 im also branch president in zadar yugoslavia in my country soccer is a big game company forms soccer goal see appendix I1 figure 18181 downstage left game begins one of players hits ball with his headheadobeado two stars meet in front of goalboalogoalo

BRUHOBRUNO GERZELI hono 13 goal all freezfreezefreezcoco bronoBRUNOBROHO GERZELI hoonohoc 13 imm bruno gerzeli 30year30 year professional soccer star for italian and columbian soccer teamsteamsoteameo second player offers handhando

EHGELBERTENGELBERT IVDRSCmorschhetjser1111 ER hono 11 with german accent engelbert morschheuser australian soccer starsterstedstarostero nicehice to meet youyoulyout 89 syd going no 15 steals ball with hands and runs to side cast annoyed tries to stop him ad libs hey wait a minute what are you doing with that ball all freeze SYD GOING no 15 with english accentiaccentaccentoac cento cuseouseuse me right mate im syd going from new zealand we play with a little bit different ball than this itsit shaped more like a football rugby we call it

ALL ohohl unfreeze

SYD GOING no 15 I1 was also awarded the MBE award all become proper english crowd for award presentation pantomiming the use of top hats coats umbrellas canes etc stand in semicirclesemi circle watching presentation nonoo 17 pretends to be the highclasshigh class dog of the governorgovernors wife nonoo 1

GOVERNOR no 12 steps to platform I1 governor general of new ealandzealand7 award you the member of british empire for your meritorious contributions to the sport of rugby in new zealand

AB JENKJNS no 8 walkingJNSto downstage center ab jenkinsjenkinssjenkins11 the name some of the company form race car see Aappendix I1 figures 19 and 2020.

AB JENKJNSJENKINS no 8 continues I1 pioneered race driving and made bonneville salt flats famous also set world land speed and endurance records

SPORTS ANNOUNCER no 2 theyretheattheyt re off flag down car runs from stage left to stage right and back again As it comes back flag down again4 like at 90 finish itnelinelineoeineo car stops upstage left facing downstage right audience AB jehnsJEMNSJENKINS hono 8 they indicating peoplepeopleopeopled elected me mayor of salt lake city and put my car the mormon meteor car takes pride in itself all heads of those forming car pop up and smilesmileoemileo

AB jenkinsJENRINSJENKTNS no 8 continuescontinuedinue s 0 in the state capitolcapitolo cast forms boxing ring around top platform arms and bodies move like ropes as wrestlers enter the ring and fall against themthemo posts on comerscorners of platform do not move

SPORTS ANNOUNCER no 9 holding mikemikeo and now for the main event of the evening we havehaleohaveo 0 indicating fulmer nonoo 151315. gene fulmer 0 freeze actionacttonactionoantiono nonoo 16 goes out to aisle downstage right from where he will throw thed discusiscusascus

GENGENE FULNERFULMER noon00no 15 aside to audienceaudienaudiencesaudienceoceo 1 worldworlds middleweight boxing champion I1

SPORTS ANNOUNCER no 9 indicating kevin youngyoungo and in this comercorner kevin young freeze actionacttonactionoactantionoionofonotono

kebinke7inIN YOUNG no 13 aside twotimetwo time US wrestling federationFederatonI1 title holder

SPORTS ANNOUNCER no 9 indicating michael young and in this comercorner michael young 0 freeze action 91

MICHAELDLICHAEL YOUNG no 17I1 astaeAsasidelaeide gold medal winner 1677 pan am games 138 pound class wrestling

SPORTS ARNOUNCERANNOUNCER no 9 gentlemen begin fight startsstartso cast cheers them with ad libs such as kill lemtemm michael the two wrestlerswrest lers using their approach throw fulmer downdoinodowno

SPORTS ANNOUNCER no 9 follow action of fight then call watch out 0 company screams and hollers

SPORTS ANNOUNCER no 9 here comes a discus I1 company all fall down 0 JAY SILVESTER no 16 As he comes on stage thats mine climbs on platform and picks up discus company looks disgusted just practicing the throw that gave the world record in discus 0 ivelve competed in four olympic games and won the silver medal in 197219720 ie

SPORTS ANNOUNCER no 9 aamiradmiradmiringing him why you must be jay silvester

JAY SILVESTER no 16 conceitedly thatsthat right honey I1 lt ad lib by nonoo 9 ugh 0

STARTER nooyoon00no 5 on your mark 0 0 runners form in starting line upstage right stand up as they introduce themselves then back into starting positionpositpositionspositionoiono noono 10 goes upstage so audience will not notice him he rolls up his pant legs for alma richards 92

hadeWIDEWADE BELL no 11 wade bell gold medal winner pan am games 1967

PAUL CTZMNGSCUMMINGS no 12 paul cummings 1974 NCAA champion

LIZLA PETPETERSONON no 2 liziadizladizia peterson AAU 440 track record for 12year12 year old girls

damndamanLAMNLAMAN PALMA no 14 laman palma marathon for mexico 1971976 olympics

STARTER no 5 get set 0 0 starter shoots gun runners run to upstage left as other company meffmessmembersdersbersbecs watch them nonosIs 9 and I11 are the finish line thompson no 8 makes a leap from upstage right to downstage right

CHANTAL MARIE PERON THOMPSON no 8 with french accentaccentiaccentoaccento I1 am chantal marie peron thompson french nationalNatt ionallonallonai womens broad jump championchampionschampionoChamplonoionotono

FRENCHFPIENCH AWARDER no 17 aohooh la la thisothis one I1 like I1 runs to her from upstage center sits near her pretends to kiss and fall backbaekbeekbackobecko richards jumps a scissor jijumpund over them and ends in back rollroliroiirollo SPORTS AMOUNCERANNOUNCER no 9 picks up richards and the 1912 gold medal olympic winner in high jump is alma W richards jp

ALMA RICHARDS no 10 with utah drawl on downstage part of the lower diatplatformplatpiatplatformoplatformyformo I1 also won the AAU meet in 1913 and the cathalondecathalonDe in 1915 and I1 have more than 245 medals and trophies from track and field all over the worldworldoworldon people said I1 wavaswas one of the worldworlds greatest athletes

SPORTS ANNOUNCER noon00no 9 steps up at attentionattentionsattentionoattent lonoiono general john pershing once ssaidia 93

GENERAL PERSHING noonon00 13 marches up to richards from upstage left and salutes all at attention lieutenant richards you are the greatest athlete in the armed forces

ALMA RICHARDS no 10 achahh shucks I1

nonoo 12 climbs on top platform and pushes pershing out of the way no 13 becomes one to catch no 12 when he falls back

EGON AUERBACK noonon00 12 in deep voice I1 am egon auerback 0 0 company all look awestruckawe struck at him ad libs such as eesheshe muscle bound tt just look at those musclemusclesmusclesoso nonoo 12 reacts to comments company gasps as he lifts bar bells to waist then to shoulders

EGON AUERBACK no 12 continuecontinues so nine times weight lifting champion of denmarkdenmarkoDenmarko lifts weights over head too far loses balance and falls backwards into arms of two men who brace his fallfalefaiefallo cast gasps screams then clapselapsclapso

AIalessandroSAITDRO VIERO noonon00 15 does two cartwheels across stage from stage left to stage right lands on both feet with italian accentaccentiaccentoac cento in italitaiitaliani1 au national gymnastics championships I1 alessandro Vvieroi1 ero won first prize in freefreebodybody exercise and second overall piano starts playing two notes building to a climax like a drum roll using the lowest doDIS JUDGES nonosIs 5 and 16 giving scores for viero showing imaginary cards to audience and rest of cast

no 5 969.6gg 94

no 16 939.3 place block with cutoutcut out trapezoid on top of platform cutoutcut out facing audience in semblance of a diving board I1 cool low lights as diver prepares to dive as she jumps full lightinglighlightingotingo rest of cast in front of block with arms out to catch in semblance of water see appendix I1 figure 21121.121 J diver in2 n spotlight

KEITH RUSSELL no 2 raising arms above head and glaring donnatdownatdown at audience jumps cast members move hono 0 2 up and down like in water keith russell 1974197 AAU outdoor diving champ everyone starts to feel cold nosno s 9 and 17 come on stage cast moves upstage iceskatingice skating in pairs and forming an tt ice follies pose diving block set down with longest side on floor of platform to become a snowmobile hamshemsbowdh piano plays skating music see appendix K entry 8 skaterskaters waltz lights become coolcaolocoolo two skaters come forward

CORIJOCORI JO AND BILLY PETRUNIK eosnonoss 9 and 17 As they skate together we are 0

CORIJOCORI JO PETRUNIK no 9 As she turns under no 17s arm cori jo BILLY PETRUNIK nonoo 17 and billy

CORIJOCORI JO PETRUNIKPETRTINIK no 9 games PePetrupetrenikpetrunikpetrunilopetrunikotrunikniko gold medal winners of the canada winter 0 noon00no 11 as ky michaelson takes his seat at snowmobile pulls cord to start it cast makes sound of engine becomes trees and moves back as if snowmobile leaving them behind then freeze 0

KY michaelson no 11 elihiletthi I1 im ky michaelson worldworlds snowmobile record holder and national and international 95

looks over side and notices snowmobile turning into rocket car sees ground disappearing as car takes off says rest of line as if in fearfearo rocket car record holder falls back on block and freezes rest of cast remains frozen janitors nosno s 13 and 14 carry out triangular block to downstage left they move very quickly as if trying already to set the record

JANITOR 1 no 14 hey where did they say they wanted this thing anyway JANITORJAITITOR 2hoaho2 no 13 right hersherehereocereo JANITOR 1n0inoI1 no 14 letsletdet turn it around JANITOR 2noano2 no 13 oh rush to turn block around and set it down seat themselves as if on teeter totter point of triangular block as fulcrum each goes up as he speaks

JANITOR 2 no 13 you start

DEAN WALTON no 14 we 0

NIKEMIKE AMNISSFURNISS no 13 mike furniss

DEAN WALTON no 14 and dean waltonwaitonweltonwaitwalt ono 0

MIKE FURNISSISS no 131 also

dealtDEANDEAJT WALTON no 14 hold 0 0G

MIKE FURNISS no 13 a4aaH 0 0a 6 96

DEANDEAJT WALTON no 14 nationalnatloNationalenaienalO 0

MIKE FURNISSFU RNISS no 13 emphasizing worldsworld f s

delandeiandegnDEAN WALTON no 14 recordrecardorecordo mleeMIEEMIKE furnissFUENISS no 13 for 0

DEAN WALTON no 14343 4 teeterteetersteetero MIKE FURNISSFUBKTSS noonon00 13 totterbotterotottero 0 DEAN WALTON no 14 ing I1 company sings first two phrases of when the saints come marching in then fade song off as women stand to speakspeakespeako the trapezoidal cutoutcut out block on the top of the platform is set upright on the ffirst level of the platform with the cutoutcut out facing upstage to be the podium j1.1 additional blocks are placed on the top platform level for women to sit oneono rest of cast including men pretend to be women at a conventionconventionsconventionoconvent ionolonotono they sit on floor and on blocks around the podium each woman speaks from podium then again takes her seat on the diatplatformplatpiatplatformoplatformyformo

&vmlttqEMMELINE B WELLS noonon00 4 with feeling like that of a politi ciano we are met at the general congress of women in chicago in 1893 I1 emmeline B wells have been asked to conduct by susan B anthony 0 our first speaker is louisa L greengreeno LOUISALOTJISA LULA GREEN noonon00 9 I1 founded the womens ESponentexponent ththee fifirstI1rst permanent womens magazine west of the mississippi and secondesecond in the nationnationsnationo I1 also raised a familiofamilyfamilyo

EMMELINE B WELISWELLS no 4 and our next speaker is susa young gates 0 97

SUSA YOUNG GATES no 6 I1 had children tootooooooo thirteen iinn fact and I1 wrote the first mormon novel and a biography of my father brigham young and seven other books I1 was also delegate and speaker to five congresses of the international council of womencomenowomeno company claps

EMMELINE B WELLS no 4 and the remainder of our meeting will be conducted by belle S spafford

BELLE S PAFFORDSPAFFORDSTAFFORDS no 8 women president thirtyfivethirty five million member national council of 0 also president of the church relief society and mother of two children idfd now like to introduce our candidate for utah state senate 0 dear 0 all clap MATTIE BUGHESHUGHES calmonCAJWONCANNON no 5 I1 mattie hughes cannon was the first woman state senator in the united states even pulling more votes than my husband who was also running 0

ROMANIA PRATT no T gets up and comes to podium and she was a doctor one of my students my name is romania pratt parley P jrjrsarsIs wifewilcowifco I1 was the firstf of several mormon women who went east to study medicine I1 was sent because we felt it was important for women to be attended by women women form line and march down to downstage right as ifffI1 to receive diploma and hum graduation song audience for convention stand and walk toward stage left to become hospital patients

MEDICALNIEDICAL PROFESSOR nonoo 3 walk up to pratt from audience attending convention she came to womens medical college in philadelphia and she graduated inI1 n 1877

ROMANIARONIANIA PRATT no 7 thank you

MEDICAL PROFESSOR no 3 congratulations 98

fioflonoDTO 3 freezes while congratulating and shaking hands with another woman music ladesfadesn outautoouto

ROMANIA B PRATT no 7 walking to downstage right I1 returned to utah taught classes women who graduated act as if taking notes and learnlearninglearningslearningoingo

ROMANIA B PRATT no 7 continues practiced medicimedicineneo0 0 0

noon00no 3 places podium block with longest sideside1 on floor of bottom platfplantfplatformorm level as though a bed leilwigaijaajjagj one of cast becomes a patient of hers

ROMANIA B PRATT no 7 continues 0 specialized in surgery of the eyesdeyesoeyeso 0 opens eyes of one of the wowomenmen and helped establish the deseret hospital where I1 was the ffirst residentreslresidentsbeslresidentoResidento company of men and those in former convention audience lie on stage left while women from the classes attend them

NARRATOR 2 no 14 we even had mormon women taking care of uncle sams money I1

IVY BAEERBAKER PRIEST no 1 if you look on the bills you can find my name ivy baker priest treasurer of the united states eisenhowerElsenetsenhoverhower administration company pantomimes taking out bills and lookingI1 at them

NARRINARRATORAtobTOR 2 no 14 and even in the military there are mormon women like maxine condercondor

MAXINE CONDER no 2 rear admiral USuso navathavynavytnavy second woman in the US to receive the honor I1 attention I1 company comes to attention facing stage right 99

NARRATONARRATORR i1 noon00no 1 unfreeze and walk toward stage right there are men in the military tootooooooo there are five generalsgenerallogeneralsoGenoeneralso five men stomp and face center audience

NARRATOR 1 no 1 continues 0 and 84 active colonels of mormon background in the air force alone I1 rest of company stomp and face frontfronto NARRATOR I11 no 1 and there was bernard Ffo fisher company sits facing upstage watching platform where fisher receives award BERNARD foF pisFISFIBBER no 17I1 stands on diatplatpiatplatformplatformoplatformyformo in 1966 I1 was flying a mission in viet nam when a friends plane was hit and went down so I1 dropped in and picked him upupo the next year president johnson invited me to the white house

LYNDON B JOIMSONJOBNSON no 11 nithawithawith a texan drawl climbs to platform to give awardacardoawardo for your complete disregard for your own life to effect the rescue of a fellow airmanfirmanoairmano 0 ol01 hereby award you the nationnations highest award for bravery the congressional medal of honorhonoro all clap remove block with trape- zoidalzol01idal cutoutcut out to upstage block areaareaoarcao

NARRATOR 2 no 14 and did you ever hear about gail halvorsen company fornsforms plane by sitting on platform see appendix I1 figure 2222. several of cast become children on stage right

GAIL HALVORSEN no 10 the kids used to call me uncle wiggly wings ft in 1948 duringduzingdazing the berlinairliftberlin airlift I1 met some children by the airbase fence 0 children pantominepantomimepantomine action as no 10 describes it occurring 100

GAIL HALVORSEN no 10 continues talked with them and gave them two sticks of gum they didntdiandidn shove or fight shared it and they even passed the wrappers for the others to smell I1 couldencouldncouldnt understandanderunderstand it and I1 was so touched that I1 promised to bring more 0 gets into plane to dip my wings as I1 came in and to drop it in handkerchief para- chutes 0 starts dlanedianeplaneplaneoplanco each engine starts sedarseparatelyseparatelyoseparatelyo company acts like a planeoplancolaneiane As plane stands toto show takeofftake off fseeaseesee appendix I1 figurevigure 23231 children kneel down and wave it dips the wings both vaysways as pilot signals by leaning the direction the plane must leanleano halvorsen throws children gumgurn and waves to them after dipping wings plane lands by again sitting on the platform and engines stop

GAIL BALVORSENHALVORSEN no 10 continues the press got a hold of the story and it became an international activityactivityo

NARRATOR 1 no 1 other mormons have given government service too there have been dozens in congress and reed smoot was the first 0 company forms desks on different parts of stage and congressmen take places and pantomime doing their desk vorkworkvorkoworko nonoo 17 gets to his desk falls asleep and snores bring rectangular block to top platform level for smoot no 13 to sit on see appendix I1 figure 242 4 for smoot desk and diagram below for other desks and their stage positiondosipositionsoposi 511 onsso

congresmeniscongressme3r S DESKS r persons for desks get on L hands and knees and freeze 101

government SERVICE POSITIONS

A moyle AAT moylemoyiemoylesmoyies desk B brossard BBT brossardbrossards desk C hyde A X cr xx E cf hydeseydehydeeydes s desk D knudsen dad1D knudsenknudsens desk x ae E eccles 4e X T x4xa elE eccleseccless s desk F armstrong persons face direction of G smoot corresponding arrows GT smootss desk H typing secretary

REEREED SMOOT noon00no 13 im reed smoot businessman and apostle 0 I1 first came to washington in 190319030 it took four years and a major tightfightright to win my seat because I1 was mormon I1 stayed on until 1932 became dean of the senate and chairman of the finance Committecommitteecommitteescommitteeoeo they often called me 0 0 no 16 brings a paper for smoot to sign but he refuses watchdog of the treasury NARRATOR 3 uono 2 there have been appointed as well as elected representatives noon00no 16 runs around getting congress mensments signatures they sign the paper and then give names

jlmesJAMESJAIVIES MOTLEMOYLE no 11 james moyle assistant secretary of the treasury no 16 thank you sirstrsirostro EDGAR BROSSARD no 14 edgar brossard federal tariff commission boselROSELROS et HYDE no 12 rosel hyde chairman federal communications commission noonon00 16 under five presidenpresidentspresidentsotso thank you 102

JAY KNUDSON no 10 sign no 16 yes please

JAY KNUDSONKHUDSON no 10 jay knudson interstate commerce commission hono 16 thank you MARRINER soS ECCLES no I171 snoring no 16 wakes him to sign the paper marriner soS eccles chairman of the federal reserve board

ELLIS ARMSTRONG no 16 stops before getting to smootssmooths desk and signs paper also for stage position see F on preceding diagramdiagramjdiagrams ellis armstrong US commissioner of public roadsroadso

NARRATOR 1 yoononoo 1 rises from being part of smoothsmoots desk and faces audience when the president called his cabinet there were mormons there too take action of president meeting with cabinet etceteeteo those of the company who are not in the presidents cabinet form long table toward audience by facing stage left three judges no f s 12 14 and 16 sit on toptopo various men walk on as they introduce themselves take positions as indicated in diagram belowsbelow5beloubelow 5 working at table etc

J beibenbelbenREIBENREUBEN CLARK no 15 I1 was undersecretary of state and wrote the darkharkherkclark memorandum a turning point in relations between the united states and latin america I1 J reuben clark was also ambassador to mexico and an apostle 0 EZRA TAFT BENSON no I171 I1 ezra taft benson was the first mormon appointed to a full cabinet position I1 was secretary of agriculture under president eisenhouereisenhowerElsenetsenhoverhower and caused quite a stir with my opposition to farm supports and even got my picture on the cover of time magazine 0 103

CABINET POSITIONS

A secret service man B president sits on block C secret service man D darkhackclarkmark S ZAx x x E benson F udall G kennedy H romney X lmo x I1 secretary stands and F x x14X014oro14 x takes notes four persons on hands and knees represent rest of cast these form the cabinet table

STEWART Llo10 UDALL noonon00 11 stewart L udall secretary of interior

DAVID M KENNEDY no 10 david M kennedy secretary to the treasury and ambassador to datoonatooNATO

GEORGE Wwo ROMNEY no 13 coming in shaking hands etc mormons im one of the few ever to run for president 0 0

ad libs hi georgetgeorge I1 how are you doing

GEORGE W ROMNEY no 13 continues N george romney three times governor of michigan secretary of housing and urban development

NARRATOR 2 nonoo 14 we supplied ambassadors to 0 0 0

MARK EVANSEVAMS AUSTAD no 11 finland mark evans austad

CAVENDISH CANNONCAUNON no 10 with accent Yugoslavyugoslaviayugoslaviaoyugoslavianlaoiaotao cavendish caoncanninocannono

DAVID S KING nonoo 13 david S king malagasy republic

JUDGE nonoo 12 court is now in session lohloulobiob104 company forms as a court jury is l stage lefleftleyleyl1 u see diagram below

COURT POSITIONS

A jury B mckay C payne D wallace E bailiff F other judge G court stenographer H judgesjudgedjudgen desk

JUDGE no 17 walks to front there have been judges tootooooooo move block with semicirclesemi circle cutoutcut out onto top of platform cutoutcut out facing floor remove other block melvin cook no 14 begins laying fuse from downstage left to downstage right aisle sets up blasting apparatus in downstage right aisle jury pantomimes writing thinking etc

DAVID wilsonWIISON no 17 takes place behind block serving as table david wilson customs court for new york city new york J CLIFFORD WALLACE no 13 walks in from upstage right pushes wilson over J clifford wallace san diego court of appealsappealsoAppe alsoaiso

hoH VERLEVERLIT PAYNE no 15 walks from upstage left pushes both others over chief federal judge for new mexico H verle payne 105

MONROE MCKAY no 16 rimsruns in from upstage left out of breabreathth as if late monroe mckay newly appointed judge to the tenth circuit court of appeals 0

ERNEST Llo10 WIINSOITWILKINSON no 11 enter from stage right hi im ernest wilkinson I1 represented the ute indians in a claim against the united states and they received a judgment of 32000000321000000 and restoration of 429000 acres of landlando I1 worked on that case for 16 years the court evaluated my work

OTHEROT JUDGEJVDGE no 17I1 pounds desk with fist three times reads findings of the court the court finds mrmroamro wilkinsonwilkinsons rating the highest given for legal ability and charactercharacterocharaecharaccharacterytero

ERNEST WILKINSON no 11 walks over to tell member of right audience 0 I1 was also president of BYU judges and all freezefrefreezeefreezeoezeo

NARRATOR 3 no 2 getting up from jury the early pioneers had to invent new uses and things to stay alive but modern mormons continue to pioneer in new fields 0 cook nonoo 14 in wastagedownstagedowastagedo right aisle pushes down plungerplplungersplungeroungero explosion occurs company makes explosion sound does somersaults and lands as if blown apart on stage legs in air etc freeze nonoo 15 falls behind block

MELVIN Aao COOK no 14 walks on stage oh hey it really works I1 melvin cook have worked on the development of slurry blasting agents which have largely replaced dynamite I1 received the nitro nobel gold medal in stockholm in 1968

KING OF NORWAY no 13 stands up marches downstage makes a square corner pivots 909001 approaches cook presents award I1 king of norway award you the nitro nobel prize

MELVIN A COOK no 14 oh well thank you 106

GEORGE R HILL no 10 coming from mine through frozen cast members on left stage coughing george R hill is my name coal research is my field still coughing from blowupblow up and ivelverve been developing the transformation of coal into liquid automobile fuel

HARVEY FLETCHER no 15 climbs on top of block I1 have something im sure youll be interested in hearing four people two on each side of platform facing audience form speakers see diagram belovbelowbe low 0

LOUD SPEAKERS

A and B stand on top platform reaching hands down to meet uplifted hands of C and D forming a square C and D sit crossleggedcross legged on lower platform my name is harvey fletcher and in 1939 this is how it sounded song one speaker stage right operates in unison singing one line of louise or some other old song from the 1930s or 1940s19401s cast sits up

HARVEY FLETCBERFLETCHER no 15 continues and this is how it sounds now I1 call it stereophonic sound cast pantomimes puttingplatting on headphones to listen to the music rock to it the cast with headphones mouth the words to the sound of music A deaf girl no 7 stands and tries to hear but cant fletcher no 15 turns on her hearing aid and cast picks up songC where they are and finishes the phrase in harmony both speakers have joined in then hum as he continues 107

HARVEY FLETCHER no 15 continues I1 also helped perfect the hearing aid and group hearing tests while director of physical research at bell telephone laboratories cast forms diamond pressure machine hands in air see appendix I1 figure 25 no IT17 stands on top platform acting as pressure gauge turning his arms horizontally see appendix I1 figure 26126.12626.

TRACY HALL hono 13 im dr tracy hall now perhaps youeyouve heard of me I1 invented this machine 91 puts fist with supposed diamond in it into machine and cast lowers hands and pushes on it see appendix TT I1 figure 27127.12727. make a shhhhhhhhh sound as if pressure increasing cast makes awful faces as if in pain from pushing so hard

TRACY HALL no 13 now this machine duplicates the pressure found on the next lines he says in pain getting more intense until he releases the machine on the word earth inside of the earth winces in pain he releases machine and company lets out sigh of relief shhhhhhhhhh fades and lifts arms up again hall faces audience it synthesized the first artificial diamond takes fist out takes imaginary diamond from it and holds it up to show audience

JAMES JENSEN no 17I1 letsletdet go look for dinosaur bones cast forms dinosaur see appendix I1 figure 28281 as jensen shows no 9 the smallest dinosaur walk downstage and kneel in front of platform JAMES JENSEN no 17I1 imfm james jensen I1 found the smallest dinosaur ever found isnt it cute it has these little feet and hands and I1 also found the largest 108

cast as dinosaur roars from behind him and he turns sees it and faints some of cast make the siren and bell sound of an ambulance cast members pantomime putting jensjensenen on a stretcher and carry him to a table made of a block on the top of the platform see appendix I1 figure 29 and the diagram below for stage positioning

hospitalpositionsHOSPITAL POSITIONS

A quintonquint on B kidney machine CQ nurse D patient lying on a block E swinyard F nurse G narrator 2 H nelson I1 warner Iiai11 warnerwarners computer system

WARNERS COMPJTERCOMPUTER SYSTEM

A puts hands on head B stands behind A and moves hands up and down with thumb and fingersfingers together across the screen which is created by As arms A says t1bins11bing every time left hand of B touches AsA head then right hand of B continues across it screen it cycle is repeated sequence begins at left side of t1screenscreen

NARRATOR 2 no 14 stands upstage of table on stage right dr russell nelson we are ready for you

RUSSELL M NELSON no 11 stands on right downstage side of table toward audience as he talks into microphone 109 im dr russell M nelson this will be the first successful artificial heart and lung we members of the original four man team are happy it works I1 PATIENT no I171 As he raises head from table 1 11 so am IS10 H0 6 drdro nelson leavesleaveso patient suffers new tackotaekoattackattacksattackoat PATIENT no 17 oh my kidneys I1 illtiitil11 have another machine please two company members form mamachinechineachineo two wheel it inino connect it to patientdatpatientspatientopat lentoientotento refer again to appendix I1 figure 29129.1

WAYNE eoE QUINTON no 16 starts machine by pushing downstage part of the machine up and down to begin bobbing motion wayne Eeo quinton developer of the quinton cannula artificial kidney shunt system

HOMER R harnerWAMRWARNER no 3 indicating computer system see previous didiagramdiagramsdiagramoagranoagramo we will monitor and diagnose with the computer system I1 homer R warner developdevelopeddevelopedoedo turns off system

EWART A SWINYARD no 13 oh that might not be his problem at allaliailalloailo I1 ewart A swinyard pioneered in the development of psychopharmacology and biopharma ceutics including drugs to suppress epilepsy and research on alcoholism and treatment of alcoholicsoalcoholicsalcoholicso PATIENT no 17 rising to elbowselbowso As if drunk hi

ALL turn and say to swinyard we of the american medical society on alcoholism present you with this award and medal for your contributions give award everyone congratulates each other etc patient speaks upupo

PATIENT noon00no 17 would you all mind moving over so I1 can at least see the TV 110

NARRATOR 1 no 1 SpeakspeakngspeakingspeakingI1ng to no IT17 you certcartceetcantcent watch television we halienthalihavenhalbententt invented it yet but here comes philo T farnsworth now I1 during the next sequencedsequence cast sets up the television with blocks on platform see diagram below

&co

T V SET UP

front view

T V SET UP BLOCK POSITIONS lettering coincides with above diagram

donny no 17117 and marie noono 991 stand between blocks on top platform heads down and lean forward from waist so faces are facing the floorflooraflooro move hands around to create illusion of fuzz on TV cast scatters in aisles etc to watch tetelevisitelevisetelevisionlevisifondoneon except those upstage of the blocks waiting to come on for ill their TV acts these have their backs to the audience and are frozen

philotaylorPHILpeldoPHILO TAYLOROTAYLOR farnsworth no 12 sitting on lower platform pantomimes taking objects from briefcase and making inventions before I1 was twelve I1 wanted to be an inventor and I1 wound an armature and made an electric motor to run my mothers washing machine so I1 didnt have to do it myself by age fifteen I1 had developed the dissector tube that made modern television possible deslets see if it works les looks for round block for knob on my television you can always find the knob finds knob and places it on stage right side of TV set turns the round block says click 11 donny and marie snap to standing position marie folds her arms

DONNY no 17 marie I1 saw one of your boyfriends the other day

MARIE no 9 oh you did donny what did he look like

DONNY no IT17 well heshe Is a little bit taller than you and is dark and very handsome he even had hair on his chest

MARIE no 9 oh who was it DONNY no 17 1 welweiwellweilweih1 his name came from royalty

MARIE no 9 suspiciously royalty

DONNY no 17 nodding head uh huh king kong

MARIE no 9 hits donny in the stomach donny marie chases donny to downstage left and joins those watching 77TV piano plays a short prase of music see appendix K entry 919.1gi no 17 goes behind blocks and freezes 112

PHILO TAYLOR farnsworth no 12 lets try again switches channels by turning knob click

ANNOUNCER no 16 comes down through blocks as talking sits on bottom step of platform alvino ray here with my singing guitar along with the king sisters four women enter and stand in line behind ray no 16 facing stage left but with heads turned toward center audience nonoo 16 sits in front and plays vibraharp makes sounds like strings playing bowing bowing IT king sisters sing in harmony two phrases of blue moon or other appropriate song a cappella

PHILO TAYLOR farnsworth noon00no 12 lets try another annelochannelchannelochchangelo clickcilekclickochicko switches again king sisters run off stage twirling to aisles lettermen sing in a quartet two lines of going out ofayofofmymy head see appendix K entry 101aoiloio10.11010. PLOpeldoPHILO TAYLOR farnsworth no 12 mormons everywhereeverywhereseverywhereo letsletdet try againagaizoagaino clickclickochicko switches annelochannelchannelochchangelo cast sings johnny carson music da da da dadao dafdaeaae tt

HOST no 13 tonight johnnys guest E cardon walker president of walt disney studios will join gordon jump of television fame and academy award winning actor dean jagger tonight johnnys guest host johnny whitakerwhitakerswhitakeroWhitakero 0 0 no 17 as johnny whitaker steps out carson show ad lib hoiho hoiholho I1a as johnny pantomimes swinging a golf clubclubocaubo one more phrase for carson song by cast ft da da da dadao 0 da see appendix K ententryry 11 for music PHILO farnsworth no 12 turns knob one more time click 113

villain no ililii11111 laughs wickedly as melodrama music is played on dianoplanopianopianiopianoo see appendix K entryentry 12112.112 villain grabs heroine no 441 company forms train says choo choo and villain takes screaming heroine to tie her to railroad track the hero no 14141 comes to save her train moves toward stage left and is formed as in appendix I1 figarefigure 5 except only one person forms the cowguardcowguard hero stops train

HEROINE no 4 my darling hero music for ending of movie see appendix 1 K entry 13131 plays as hero and herolheroinene hug with faces toward audience and all freeze bring out tall block and put in dosposi-pos 1 tion shown for TV set 1 see diagram above entry coC I1 camera made of cast set on no 15 gets various angles see diagram on page 110 TV set up block Positionpositionsentrypositions entrysEntry C see diagram below

T V CAMERA put right fist to head representing camera lens and left hand on hip lean forward other person behind guides camera and turns imaginary crank on the side

AMOUNCERANNOUNCER 1 no 15 stands behind tall block using it as a podium wastwasnt that movie touching the hero always seems to get there just in the nick of time well before we get on to our big money movie call we want to remind you tobo see the movie of the week starring laraine day also make sure you get to your local theatre and see the academy award winning flflinfilmflimlm the great american cowboy produced and directed by keith merrill now on with our big money movie call PHILO TAYLOR farnsworth no 12 turns knob click 114 company forms around platform as if making preparations for lift off cylindrical block with cone top put on top platform and people behind it ROCKET prepare for lift off cast also TV ffornsformsornsorms 5 cameras etc camera follows announcer company can create a new camera type than the one used above 5 if desired

BARBARA WALTERS nomb 7 fellow Americanamericanssl this is baba wawa at cape kennedy waiting for the takeofftake off of the skylab rocket with astronaut don lind on board operations here are under the direction of dr james C fletcher head of NASA and now fforor the countdown

ALL four three two one we have rocket liftofflift off and the stages separate nosno Is 1 and lu14 control stages

ALL lift off cast cheers see appendix K entry lu14 for rhythm of the following lines about marriott

NARRATOR 1 no 11 begins line and cast joins in rhythm business businessbuslbusi businessnes&nesa k cast rises to rhythm joins in saying business business business moving hands and walking in rhythm toward stage right where they rock to rhythm and continue saying business business business ft while marriott talks over them in rhythm

NARRATOR 1 no 1 talking over cast in rhythm nauvoo and salt lake saw lots of it develop

NARRATOR 3 no 2 letsletdet naoename an LDS businessman J WILLARD HARRIOTTMARRIOTT no 14 stand upstage center rocking and speaking in rhythm impm J willard marriott I1 was born in marriott utah the town named after my grandpa 115 no 12 as grandpa steps in rhythm and waves as he goes across platform to other side

J WILLARDWILLABD MARRIOTTMAERIOTT no lu14 continues I1 worked on a farm and herded sheep cast moves across stage from downstage right to downstage left saying baa baa baa baa baa in rhythm then rock and move hands in a line running from center stage to stage left and saying tt cshhcsehh cshhcsehh csehhcshhcsehh cshh also in rhythm when I1 was thirteen I11 shot a rattlesnake several company members move hands in rhythm towardhimtoward hinhim and others standing on platform they say hiss hiss hiss hiss ff those on platform show fear others continue csehhcshh cshhcsehh cshhcsehh cshhcsehh ft and saved the lives of the other herdershergerdersders and the next year I1 shot a big bear no 16 comes out from top platform in rhythm with arms up like a bear and takes after marriott the papers took a picture of it

three of cast 5 moving in rhythm from downstage left to downstage right take picture of him and bear saying cilekfalickfcliekileklickclickfclick click click click click in rhythm took a trainload of sheep to san francisco and got my first long pants when I1 was fifteen company forms train moving from stage left to stage right see diagram below

MARRIOTT TRAIN persons stand in line facing same direction each holding the downstage elbow of person in front of them moving arms in rhythm 116

J hillardWILLARDWILLAJRD IMARRIOTTMARJRIOTT no 14 continues went on a mission and then came home 0 0

nonbo 7 comes forward and stands rocking beside him met allie my wife at the U of U in 1927 that Is the year we opened a rootbeerrootbeer stand in DC and 0 cast moves to huddled group on top platform built it into a 0 0 ALL cast moves to line across back stage still moving to business rhythm the line is placed across platform so that middle point of line is highesthighestohighesto no 7 goes to join cast line on stage left 400000000 a year corporation

Jjo WILLARDWILLABD MARRIOTTMABEIOTT noon00no 14 still speaking in rhythm first we had hot shoppes restaurantsrestaurantsoRestaurantso 0 noon00no 2 steps toward audience from right stage and says in rhythm acting as if serving them may I1 suggest the hamhornharmhamm on rye yes sir we pile that ham sky high Jjo WILLARDWTLLARD MARRIOTTMAERIOTT no 14 inflightin flight meals 0 0 noonon00 1 steps out from center of top platform as if serving meals to two members of company who have just sat down who continue to move in rhythmrhythmsrhythmo what would you like chicken or fish oweweilwellweli give you some beef if you vishwishvishiwisht J WILLARDWILLAJRD MARRIOTTMAHRIOTT no 14 then marriott hotels 0 0 0 two cast members nonoo Iss 13 and 4 face each other rocking in rhythm as though asking for a reservationreservationsreservationo 117

hono 13 the best surprise is no surprisurprissurprisese do you have a reservation

no 4 right before your eyes t

Jjo wildardILLARDWILLARDW MARRIOTTMAHRIOTT hono 14 roy rogers and farrellsfardFarrelseis ice cream upstage left of line pantomime eating an ice cream coneconeo ad libs by ice cream cone eaters in rhythm bummnumm bummnummnummocummo bummnummouumm bummnumm bummnumm

J WILLARD MARRIOTT no 14 cruise ships 0 0

ALL cast waves in rhythmrhythmsrhythmo bon 0 bon bonobon voyage cast in rhythm says following on great hands go to rightrightjrighta on ameri canteancan hands go to left and on parks hands go up straight over heads and the great american theme parksparkst

NARRATOR 1 no 1 stopping action organizing whewwhewl I1 wait it would be better if we could show how mormon business men and the companies with which they are associated affect our ilvesliveslivesolivedo

NARRATOR 2 no 14 great indicating pianist music pleasepleaseapleaseo see appendix K entry 15 for music music begins

cast forms john Q publics house john L no leandl6and16 1 and his bifwifwifee jane no 818 are in bed surrounded by bedstand shower sink and mirror and cabinet see diagrams that follow blocks used are indicated in position diagram the numbers of those used to form fixtures are also included the stage positions are those when john and his wife wake up 118

IA T amARM CLOCK AND BED STAND

A 1 holloI 12 and C no ll11 kneel facing each other holding hands B niojo 10 as clock goes off and wakes sleepers by shaking them with his banesbancshancshands

SHOWER A A no 15 puts hands over head with 0 fingers spread ready to shhhhitshhhh as though water coming through the showerheadshowerhead A front view 0 B no 13 puts fists on either side of shower A to be used as the knobs side view

loiroi191 SINK AND MIRROR

A no 7 is the mirror B no 17I1 kneels in front of A puts arms in a circle like sink

JANESJANETS VANITY

A no 5 kneels on allfoursall fours as the table B no 9 kneels behind A with arms in circle front view over head representing the mirror mirror faces upstage right with back to audience

C no 6 curls up in a ball and oraorz jane sits on it as a stool in front of her vanity 119

CABINET

no 4 stands stiffly facinefacinofacingg center audience

JOHN Q PUBLICS HOUSE

A sink and mirror B shower C narrator 3 D alarm clock and bedstand E john and jane sleeping F narrator 2 G cabinet H narrator 1 I1 stool J table janesjaners vanity K mirror j

cast members whiwhistle1 stie like birds 0

NARRATOR 3 noono 2 A day in the life of john Q publicpublico narrators speak as though guardian angels amazed at marsmansnarsnans follies

NARRATOR 1 no 1 john lives in a house financed by western savings and loan association gary H driggs president

NARRATOR 2 no 14 and its heated by mountain fuel supply company B Z kastler chairman and Presipresidentpreslpresidentopresideniodento

NARRATOR 3 no 2 and is insured by aetna life and casualty company D lee tobler vice president and trTreasurtreasureroasurerero clock buzzes like alarm and reaches over to awake jane and john 120

NARRATOR 1 no 1 the clock radio awakens owouroum sleeping couple

RADIO no 10 good morning radio begins humming fast music

NARRATOR 1 no 1 it is tuned to RADIO no 10 KIRO in seattle radio begins music again jane irritated turns off the radio

NARRATOR 1 no 1 one of the five national television stations owned and operated by bonneville international corporation arch L madsen president couple gets out of bed bump into each other husband goes to bathroom stage right turns on shower dries face with towel and begins to shave at mirror and sink jane goes stage left to vanity area with a mirror stool and table action proceeds as indicated by narrators

NARRATOR 2 no lu14 john is now using gillette razor and shaving cream robert hales former vice president jo ladddadadadd1jadd incorporated jane begins to put on makeupmake up

NARRATOR 3 no 2 jane is applying max factor makeupmake up or cleansing lotion etc robert hales was also vice president of max factor

NARRATOR 1 no 1 john is applying aftershave he purchased at woolworthwooiwoolworthsWoolworths robert kirkwood former board chairman of woolworth corporation

NARRATOR 2 no lu14 moves stage left and now our hero is putting on his JC penney shirt no 16 who was the stool becomes cabinet see diagram below

NARRATOR 2 no lu14 shoes socks and suit oakley S evans former vice president for corporate development JC penney incorporated 121 SECOND CABINET

A no 6 and B no h4 face each other pressing their forearmsfbdearnsrearms together as shown

jane I1 s vanity mirror no 9 becomes the table and the table no 5 becomes the stool for kitchen table bed stand changes to stove see diagram below JI1

STOVE

A no 12 and B no 11 kneel and face each other with hands up ready to fry eggs and bacon C no 10 kneels behind them holding both arms up in a square position as the cabinet above the stove bend of wrists make it square at the top

JANE noon00no 8 oh john not that tie here is the blue one I1 got you for christmas Pantopantomimingmiming taking a tie from closetclclosetsclosetooseto

JOHN no 16 ohyoh I1 thought that one looked all rightrightodighto

JANE no 8 helping him put on tie no this looks better thatsE nice enough for a raiseraiseomaiseo NARnarratorNAEBATORpATOR 2 no 14 yes now john can ask for a raise ato 0 e narrators upstage left snap to attention and luteosalutesaluteosalutedsa

NARRWNARRATORNARRWCORborCOR 2 no 14 continues C 0 the michigan national corporation stanford stoddard president

JANE no 8 goes to kitchen on top of platform toco start breakfast 0 Ii1111 tii111 fix you an egg john JOHN no 16 but I1 really like shredded wheat 122

goes to cabinet for shredded wheat john opens cabinet by pulling arms of f 6 4 no Iss 4 and toward him 0 henwhen he opens cabinet faces get wide eyed and smile and freezefreezeefreezeo when john closes doors they become straight againagaizoagaino jane begins to fry eggs

NARRATOR 3 no 2 the eggs jane is frying came from olson farms inc Cco dean olson president

cast forming stove move fingers to indicate frying eggs and make corresponding soundsoundoboundo john sits down at kitchen table

NARRATOR 1 no 1 rt the bacon came fromfronio 0 since verstveretwee neighbors lets be friends safe way lorenzo N hoopes senior vleevicevicepresidentPresidentPresipresideniopresidentoprestdento john pours shredded wheat into imaginary bowl

NARRATOR 2 nonoo 14 john is serving himself nabisco shredded wheat lee S bickmore former board chairman nabisco incinco jfejaeJAMJANE nonoo 8 serves john eggs at table your eggs john

JOHN no 16 oh umurnurmumm huhhahohuho john nonoo igl16161 hands imaginary eggs on imaginary plate to audience member behind him here jane sits down at table and begins to drink her juice

NARRATOR 3 no 2 the juice jane is drinking comes from del monte richard B sonne vice president del monte corporalcorporation ionolono john drinks milk

NARRATOR 1 nonoo 1 johnsjohn milk comes from carnation reed braithwaite vice president administration 0 123

NARRATOR 2 no 14 janesjanejene milk comes from pet boyd schenk president pet inc john goes and opens cabinet As he does faces of those forming the cabinet react as above when he got the shredded wheat 0 he pantomimes removing vitamin bottle opening it getting a pill closing bottle and replacing it in cabinetcabinetscabicabinetoneto john then closes cabinet doors odand takes pill

NARRATOR 3 no 2 oh the vitamin pill which john is taking comes from skaggs 0 leslie stone former president

shower becomes phone see diagram below

PHONE 13

A no Q S M 13139135 representrepresentinginc phone 5 pideteduteputs right hand in a fist with thumb and little finger sticking out littledittledittieTj t j finger goes to johnsjohn mouth andanciancl ththuraithurpighuroburpi to his ear B no 16 as jonjolln holshoisholi Is dhonephone receiver to his ear

jane pantomimes eating roll

NARRATNARRATOROR 1 nonoo 1 the roll jane is now eating comes from albertsonalbertsons robert doD bolinder vice chairmanChairchairmanomano

JOHN no 16 getting a bit chubby aretarent you dear JANE no 8 oh but im eating for two now deardearo phone rings

JOHN no 1610 confused pulled between phone and his wife two I1 how why who what do you mean why

jaeeJANEJAJNTE no 8 answer the phone john 1lal1112

NARRATOR 2 hono 14 stops john as he is about to answer phone john freezes the phone john is about to answer is manufactured by Westwesternlernaern electric steven H fletcher past vice president and general council western electric co

john answers phone 0 it makes garbled sounds as person talking on the other endendo john looks shocked

NARRATOR 3 hono 2 oh oh john is talking with his broker about his IBM stock terrell A lassetter vice president for manufacturing IBM corporation

NARRATOR 1 no 1 he makes a note with his papermatePapermate dendenopenpeno robert hales was president of palpermatePappapermatepalopaioPalpermate too I1

JOHN no 16 worried about jane being pregnant I1 will not go to vorkworkworko

jaheJANEJAXE noonon00 8 hurry john or youll be latelatcohatco heresheroes your briefcasebriefcasesbriefcaseo company forms car on briefcase sesee appendix I1 figure 30301 and john gets in holds steering wheel and faces center aurienceauaienceaboauo lence

NARRATOR 3 hono 2 johnsjohn car was made by american motors george romney past president

NARRATOR 1 nooyoonon00 1 titires1 res came from phillips 66 robert noN sears senior vice president and directordirectoroDirectdirectoryodoorooco

NARRATORNARMATOR 2 no 14 it was gassed up at husky glenn E nielson chairman of the board husky oil corporationcorporationscorporationoCorporationo

NARRATOR 3 no 2 and he financed it through benefibenefjbeneficialicialacial dewitt paul chairman of the board beneficial financefinancesfinanceoFinanceo car screeches and gets in accident parts of car get distorted physically and make pained faces 0 right front wheel off see appendix I1 falls gane figure 31131.13131. all freeze except jane and john 125

JANE no 8 runs up to car john oh john are you all right jane and john freeze john Q public music stops

NARRATOR L no 1 unfreeze and is insured chuckles by kemper insurance james W bardbardinghardingRarding president piano chord for beginning of finale number full lighting finale begins FINALE NUMBER whatswhatts a mormon ever done see appendix L entry 3 for approximate choreography and appendix K entry 16 for music instructions and pictures for vignettes are included in appendix I1

ALL refrain whatwhasIs a mormon ever done to help the human race whatswhat a mormon ever done to make the world a better place one person from each vignette group saysayss the line describing the action of the vignette vignette on stage right see appendix I1 figure 3232. sports vignette on stage left see appendix I1 figure 33 entertainers vignette on center stage see appendiappendixX TI1 figure 34134.133. choirs vignette on stage right see appendix I1 figure 35135.13535. mormon battalion vignette on center stage see appendix I1 figure 36136.13636. television vignette on stage left see appendix I1 figure 37137 1 diamonds 126

vignette on stage right see appendix I1 figure 38138.13838. sculptors vignette on center stage see appendix I151 figure 39139.139 dinosaurs vignette on stage left see appendix I113 figure 40140.1boiUO

ALL everyonesevE veryoneferyones s hands straight up from last position see appendix I1 figure ul41 1.1 BYU verse theretheres a sayisayin that I1 learned very very long ago that the lords chosen pe0pllpeople by their fruits you would know if its goodifgood if its great thenisheaven had 8a ishand in helping it to spread to each and every land refrain whatswhat a mormon ever done to help the human race whatfwhatswhaff s a mormon ever done to make the world a better place gave all he had to give thatsthat T s what made lemiemT em grow give said the little streanstreamstremm thatfthalfthats s what made it so o o give said the 1ittlelittlelittieittielttie stream hereshere what made ittit so

EKDEND APPENDIX A LETTER FROM LDS CHURCH HISTORIAN

127 AV

october 19 1977 r 4069 haroldhanoldharqld 8 lee library bnghambangham youn provo utah 84602 3741211374 1211 ext4048ext 4048 leonardleonand arrngtonarnngton director thomasrhomas alexanderalgxander associate director academic office 434 ELWC campus

aitATTATT college council kris morgan has just explained to me the mormonMorormonmoamon montage project whichwh 4 ch she is doinadoincdoing for her masters degree I1 think this project will be worthwhile not only to BYU but to the church as a whole this information has never been compiled and would be helpful to all of us I1 am sure she has the energy and resourcefulness to do it I1 highly recommend the project and sister maraanmoraanmorgan for funds for this proposal sin

historian ljacl

18128 APPENDIXX B LETTER SENT TO DEANS AND FACULTY

OF BYU

129 APPENDIX B LETTER SENT TO DEANS AND FACULTY

OF BYU

department of theatre and cinematic arts brigham young university

november 10 1977

dear colleague we need your help we of the whitdinwhitwhizwhitzWhitt lindin whistlinWhistwhistlinglin brigade are gathering material for a theatre production dealing with the significant contributions of mormon men and women to the world for example mormons have invented television and stereophonic sound have served on cabinets and as ambassadors for the nation have been university and company presidents etc we feel a production built on this information can help create a sense of pride in the heritage that we as Morcormonsmormonsmons have and that it can be a strength for members and of interest to those who are not we are very excited about the opportunities this project offers but realize that there are often people who have made significant contributions but are only known by those in their own fields therefore we need your help to aid us in discovering such individuals in your area these may be present or past persons you feel would fit into the description we would need their names historical data unusual stories relating to their accomplishments and any other information that you feel might be pertinent A form is enclosed that may be used if you like we would like to have the information by november 5030 1977 if possible if you only have time to give us a name and where to research that would be of significant help if you have any questions please contact us at extension 2273 thank you very much forvourforforyouryour help respect

haroldranold R oaks associate professor

krisknis morganln research sistanassistanassistantAs PS if you would like a summary of the material received we would be happy to send that to you when it is completed thanks again cc all deans and department chairmenCh aen

058106810 581681 HFAC brigham young university provo utah 8460234602 801 3741211374 1211 extension 4574 130 131

MORMONS nhoWOWHO HAVE wadewaldewalyeMADEMAIDE significant contributions TO THE WORLD

saresaneaanemanenamemame birthratebirthdateBirthdate most significant contributions

whereghere worked company organization etc geographic location significance of contribution

nharewharewhere could we get more information

church standing home teacher SS teacher etc honors or awards gienglenalven himherhigher

other family historical or other information that might be interestingusefulinteresting useful

name address of person completing this form

please return to harold R oaks theatretheatre& Ss cinematic arts department brigham young university provo utah 84601 APPEKDIXAPPENDIX C activities AIDAND improvisational

situations FOR TRYOUTSTRY OUTS

132 PPENDIXAPPENDIXAA C activities AND improvisational situations FOR MYOUTSMYTOYCUTSTOY OUTSCUTS during the first tryouttry out session the applicants sang a song were given some improvisations executed a learned dance routine and were encouraged to present a oneminuteone minute scene see cast selections and try outs page 33. the following exercises were used to evaluate the potential cast members during callbacks held january 18 1978 these activities were done not only for screening purposes but also to aid in the development of each individual candidate the actions entitled evaluation and notes will give the director ideas as to how to judge the abilities of the players the word players is used to describe those involved in the various activities given here because these are theatre games the director of the activities is referred to as the side coach it is his respo- sibinsibilitylity to assess the needs of his group and vary the exercises accordingly this applies not only to this appendix but also to appendixes D and E A categorical index to the exercises contained in appendixes C D and E is1 cs in appendix F the format for these theatre games as they are called was taken from that used in the theatre Ggameame file by viola spolin and was used not only in this appendix but also in appendixes D and E it is as follows 133 134 rehearsal exercises date name of the game preparation any activities which couldbecouldvecould be used to prepare for the game focus task of the player or the focal point of the game the tool to help all players to get the full benefit of the exercise and can usually be read to the players description the rules of the game and the instructions necessary to play sometimes side coaching giving instructions to the players is in the description section thus comments to be given during the game to help the players side coaching will be kept separate from the directional statements in description this also refers to appendixes D and E side coaching statements for the leader to call out to the players to keep them on focus and playing the gazieganieganegame evaluation sample questions to be asked the players to keep them away from personal judgment as far as it good or bad and to keep them on focus for discussion includes statements or questions to 135 help the side coach in evaluating the players use of these depends on the discretion of the side coach notes purpose of the game in relation to the tryoutstry outs or how it was used to develop and prepare for the production also tells points of observation for the side coach to help the ayersTplayersplplayerst understanding and presenting of the material and gives suggestions to aid the side coach in evaluation

improvisational situations forfor youtstryputstryTr putsguts wednesday january 18 1978 7001030700 1030 pm 1 the lassglass Ccapsulea preparation none focus feeling sensesenseswithsenses vithwithswith the entire body description all players stand erect as if in a glass capsule the side coach gives various situations which occur in the capsule the following are examples a it begins to snow and you dotdont know where it is coming from b suddenly the top of the capsule begins to close down on you so that youll be crushed c it becomes very hot inside and out you feel you will faint but must keep your senses it is hard to breathe 136 side coaching how big is the capsu1capsule what shape is it how does it feel use your muscles howshow isits cold feel cold all over you let emotions work concentrate feel the space evaluation did you cold on parts of your body did you dis- I1 feel all cover ways to touch the glassgicass with other parts of your body besides your hands how did it smell how did it taste notes in evaluating this exercise for try outs the director can see the ability of an individual to create spontaneously with simple directions these types of exercises are used throughout rehearsals this can also be used to increase the playerplayers ability to make pantomime real additional description by the side coach can help sharpen the players awareness

2 machine preparation none description one specified player begins a mechanized motion with a sound other players spontaneously join the first adding other motions and sounds by connecting and reacting to each other this machine should be imaginary 137

now the players make a realistic machine that executes a function or produces a product for example a washing machine lawn nowermovermower etc

side coaching dotdont think too hard just join in act and react become inanimate

evaluation did machine have appendages which were not a part of the whole were any players not able to be in harmony with the movement of the machine were players discovering new ways to use their bodies were the sounds innovative notes this exercise helps to create a unity in the players through which all support each other in the process of mutual fulfillment and also aids in overcoming inhibitions if someone has trouble joining in it might be a good idea to have him start the action the exercise can be extended by asking players to build a machine with as many interesting levels as possible for example some players could be standing others on the floor and still others at various levels between the two extremes creativity as well as ability to work in a group can be evaluated through this exercise

3 part of a whole preparation machine 138 focus shovingshowing a whole activity and taking a part in it description large teams of ten to fifteen players players agree on first player who secretly chooses a group project and begins an activity related to it when the nature of the whole general activity becomes apparent other players join in one at a titime1 me and take part in the project an example is planting a garden first player rakes leaves into piles second player hoes third fertilizes etc1etcaetcete side coaching show dotdont tell avoid dialogue other players give yourself time to see whaswhatsS goingoingg on take a risk join the activity become part of the whole if players mouth dialogue 2 share your volcvoicvoievoice2voiceffvoicedvoicevolce eff evaluation what was the group activityactivityivirty players were you part of the whole were there other activities possible in the project 30 audience those not playing gamedogaganegamegaledomedonedo do you agree with ththee players

iviivllolaloiaolaoiaiola1 spolin theatre game file st louis cedrelcemrel 1975 card a26 2 ibid 3 bidibid 139 notes this activity should flow easily players should not know the intent of the ffirst player those afraid of being wrong willI1 find out in the discussion that there are many differing ideas and will then gain more confidence in their own if the playing is chaotic understand that pressure and excitement are essential to the social growth of the group this exercise also is useful to evaluate the creativity of an individual as well as his ability to work with a group

4 run preparation none focus being aware of senses while in motion description players are instructed to walk at random through room being sensitive to others so no collisions occur side coach gives various situations and environments in which they are to walk or run for example a on the moon little gravity 9 through snow b on jupiter much gravity hb on ice c through an open field in sun i1 on jello d on the bottom of the ocean J in honey e through a desert k immersed in honey f on marshmallows 1 immersed in jello iboiwolwo140140 side coaching keep an image in your mind feel sensations with all parts of the body smell it taste it touch it hear it feel space with your back and be aware of whatswhateswhales behind you evaluation and notes

check to see ifL players concentrate enough that running is free and spontaneous check to see that spatial awareness is evident the ability to use the imagination and put thoughts into actions is manifested through this activity

5 seacesj2aspacesjmace walk preparation none focus 4 on feeling space with the whole body description players walk around and physically investigate space as an 5 unknown substance n side coaching give some zinetimebetweentimezime between each coaching phrase for players to have the experience walk around and feel the space around

espolin4spolinspolin theatre game file card a6aa 51bidbid ikiluliblibi141 you investigate it as some unknown substance and give it no name feel the space against your backbadebaekbeekbame your neck feel the space with your body and let your hands be as one with your whole body feel space inside your mouth along the outside of your body feel your body shape as you move through the space you go through the space and let the space go through you feel the space with your face your cheeks your back now let the space feel you your face your arms your you whole body keep your eyeseye3 open wait dotdont force it go t6ta through the space and let the space go through you evaluation did the players get a feeling of space or of letting space feel them do not evaluate too much notes the side coach should be aware of the playerplayers physical holds tight mouth hunched shoulders 5 etc so he can use it as a guide in his coaching for example if one player has a fixed eye expression the side coach could say put space where your eyes are however do not let the player know helshe singled out as all will gain from the idea A simple introduction may be for the side coach to ask the players what is between himself and them whatever they think it should be called ask them to think

espolin6spolinspolin theatre game file card a6aa 142 of it as space substance for the exercise through this activity the side coach notes the inhibitions of particular players

6 run and freezepreezefreee preparation space walk focus bodily expression of abstract ideas description run and freeze in positions indicative of the objective given by the side coach a ugliest b angriest

c happiest d silliest e tallest f smallest

g most ragged h softest i hardest j strongest4 k indifferent

1 longest

m and so forth 143 side coaching find next position be original dont move an eyeball really freeze feel it all throughout your body feel energy dotdont analyze be spontaneous stretch it

evaluation are players being aware enough not to be self conscious do they attack the task without hesitation f

notes side coach should use instrument or clapping to keep players on steady beat and to signal for a ffreezereeze he should have enough ideas to keep a constant barrage of tasks before the players there should be no time lags in this exercise

7 drawing inliililiri preparation general relaxation see warmupswarm ups in categorical index in appendix F

focus becoming aware of self

description have players get in a comfortable position with eyes shut and muscles relaxed concentrate solely on voice of the coach 144 side coaching write all problems and tensions in your minds block them out be aware of breathing body position heart beat air space on top of you over you around you feel space betbetweenween your fingers your nostrils your toes be aware of what the cells in your finger nails are doing how deep does your breath go can you feel the blood pulsing through your veins how about the blood going to your fingerfingers3 head toes etc evaluations and notes coach picks up arms and checks breathing to see if itsit labored and not relaxed

8 crisisI1 sitsittings preparation

glass capsule and machineMcachine focus on inner emotional feelings and reactions to others description several examples follow

a you are all in aa submarine and have been sighted by the enemy no one has spoken for 45U minutes oxygen is quickly running out and all is silence and waiting b you are jews escaping from the nazis spotlights are all around you and you must get from point A to point B without 145

getting caught it isJ s dark and you are crawling under barbed wire and may at any time hit a mine c you are mountain climbers on mount everest in a blizzard and you will probably not make it through the night

side coaching what do you hear taste smell feel or see identify the emotions going through you be aware of how you feel define a relationship between yourself and the rest of the group evaluation these exercises were done to determine the way that people would relate to one another and how well they would work together in a group for example one young man said that normally in a crisis situation he would try to calm others and be of assistance but during the submarine crisis he had decided to draw within himself and separate himself from theche others however one woman sitting bebesideside hinhim began to go berserk and scream he immediately became himself tried to cimfortconfortcomfortimport her and keep her silent thus he changed his position because of a circumstance in the group which indicated that he worked well with people and would adjust himself to their needs in this way by observation the director can determine many characteristics of potential cast members the director should also note whether the players are pushing themselves beyond sterotypicsterostereotypicosterotypictypictydie reactions 146lug notesmotes coach may have players close eyes if he feels this will aid in concentration the exercise drawing in may also be used to prepare the group for concentration side coach may desire to

10 heighten the crisis at any time to1 o bring the group to a climax

I19 who is there preparation

machine part of aca whole focus reacting to a situation description

two players are chosen and one player A is to think of and begin a situation that would create a relationship with the other layerplayerp B A walks into the presence of B example B is sitting and A enters crying carrying something dead 3 becomes the mother sister brother friend etc the side coach could then ask them to switch places and have B begin or have them do the same roles using different ages from those first portrayed side coaching none except to change the situation evaluation and notes watch for spontaneity watch that they are not playing for the audience but for the situation 147

10 reading eivenzivenelvengiven from a danish immigrant rasmussen I1 had a first nainename given to me away back there in denmark and when I1 answered the call of the lord and crossed with my brothers to zion my name was written in the boobookk but when I1 saw this barren waste desolation I1 rebelled so this was what ldid left my soft green island for how could such a blasted heath bloom roses I1 heard the siren call beyond the bleak sierras in california land of manna milk and honey let my brothers plead and pray for me neils and ras and chrischrls letiet them wither inthisin this wilderness I1 never want to hear its naaenanename again nor no man hear my own name iai1 go and gain my fortune lose myself in a worldlyilllii paradise let my name be stricken from the book and so no man alive recalls my christian nainenanename nor where I1 spent my mortal years and while neils and ras and chris are numbered in the book and countless bless their namesnajilesliesaies for me theretheres no inheritance in zion my bones lie buried in an alien land where no man knows my name nor how I11 lived nor why 7 notes

the applicants were given the reading and required to come in individually and read it in this way each person used his own unique style instead of copying another the reading was given to evaluate the applicants ability to portray the genuine feeling of an early convert accents could be evaluated and the ease with which the reading was given could be appraised

7 charold7haroldearoldharoldharoid R oaks and others an evening of historical vignettes it enensignsiansi&n 10 october 1972 879879487 949 APPENDIX D REHEARSAL SCHEDULE AND EXERCISES

148i 48 APPENDIX D REHEARSAL SCHEDULE AND EXERCISES introduction

mormon montaemontage was rehearsed for six weeks prior to opening the show on march 16 1978 the cast met the first three weeks in a large practice room where the stage area to be used in the margetts arena theatre was taped on the floor so the actors knew in what space they would eventually work the last three weeks of rehearsal were conducted in the arena theatre mentioned above see diagram on page 16 the platform areas were taped onto the stage floor as they were not built until five days before the opening of the show the schedule of rehearsals and activities used to develop the original production of 17 mormon17mormon montage is arranged chron- ologically from february 1 to march 15515915 1978 the practices averaged three hours in length but the exact times are indicated after each date these exercises or gainesgames were designed to develop qualities needed by the original cast members to produce an improvisational script 5 and should be varied by the current director to meet the specific needs of his own actors for instance if a new cast were composed of high school students some of the situations in no 5 of february 779 1978 wouldnotwould notnob be appropriate because they were geared for those attending brigham young university however 149lug 150 they are included to give an idea of the type of improvisations that can be used some of the activities used to develop the structures built with the castscasteasts bodies can be employed to create new innovations unique to each individual show this possibility will be indicated in the notes of such exercises example see notes for no 5 of february 8 19781978. other improvisational games for example charades no 6 of february 21 1978 helped to heighten the actorsactor ability to create unique ways to communicate with the audience because his script does not have a regular story line the interest of the audience must be held by the action and pantomime carried out on the stage thus the director must depend upon his cast to experiment and make the material fascinating to watch the company should be encouraged to constantly try new innovations as long as they do not detract from the purpose of the scene the script was developedfromdeveloped fronfrom the basic outline of introducing the contributions of mormons to the world the playwright gave the cast this f skeleton from which to work allowed them to improvise and create interesting ways to develop the material rewrote the lines and then returned them to the cast to perfect and polish many of these games helped to create the qualities necessary to build a script from scratch now that the production is written all of these exercises may not be necessary however they are included to show the process of development and to be ususeded if desired many of the original cast had never previously participated in a production so these activities also 151 aided in their growth in the following description of the rehearsal procedure in sections where the script was developed the entry reads script only the description and side coaching it are given because the other information used in the games preparation focus description etc is irrelevant the script was usually worked by sections where the page numbers are given for reference the main sequences are listed in the script accomplishment index see page liii1111. these sections however may also be indicated by the line on which they begin for example the action describing the various products manufactured in nauvoo was denoted by the line nauvoo craftsmen produced see page 36 of the script the assigning of parts is seldom specifically mentioned as it is assumed that this was done as each section of the script was reached A run through means that the specified section of the play is fully rehearsed as if in performance however a line run through refers to the saying of lines only this is done to sharpen awareness of the cues so the show wiviliviiiwill11 not drag the script development went slowly in these rehearsals as no formal script was availableaval ableabie the current director should be able to readjust the rehealrehearrehearsalsalsai schedule and move more quickly

i wivithwithitheth the prepared serscriptI1 pt although theV script rehearsals are recorded much of the manner in which they are to be conducted must be determined by the director examples of specific suggestions to the original cast during rehearsals are enumerated in the side coaching and 152 sonetsometimeses in the description this is done to give an idea of the types of motivational instruction that can be given by the director but must be varied according to the needs of the

individual group the idesideE coaching may also include references to former exercises as in no 7 of february 25253 1978 where get that small light inside of you is said in reference to the exercise relaxation with light tt the suggestions in the side coaching sometimes will not end in an exclamation because they

are descriptions 3 not comacommandslands etc is also used to allow the director or a side coach to invent new statements based on the ones previously given familiarity with the script is necessary to understand the side coaching following is a list of other information pertinent to this apappendixpendix

1 for definitions of preparation focus description side coaching evaluation and notes see the introduction to

appendix C 2 little or no description for the music and choreography rehearsals is given as whatwhat is done depends upon the director and the needs of his group

3 the cast needs constant excitement and encouragement from the director 4 suggestions of wheres to be used in the crowd scene are given in no 4U of february 16 1978

5 the purpose of each game is recorded in the notes 153 6 when an exercise is repeated only its name date and

number is given for example machine see no 9 of february 1 1978 preparation and notes of variations to these exercises may also be included

7 sometimes one activity will be an extension of the one immediately preceding it in this case only a note appears below the gamesgarner title which explains the new variation 8 the participantspart icipant areaxe referred to as players as in the preceding appendix during the script work the players may be referred to as actors or cast and the side coach as the director the side coach is also referred to as coach 9 for those familiar with theatre games the mirror exerciseexerciseisexercisersis referred to as follow the follower 10 warmupswarm ups are activities used to get a group of players ready for whatever follows they may be used to limber up or relax the muscles or create a receptive state of mind these exercises can be varied according to the needs of each individual cast other warmupswarm ups can be found in the additional references listed at the end of this appendix warmupswarm ups used for pre performance purposes are in appendix E 11 the sections entitled reading february 7 1978 sharing experiences february 15 1978 and sharing ideas

march 3 3 1978 were recorded as examples of what could be done to encourage a cast to greater heights of understanding and performance certain problems can arise in the development of an improvised script of this kind these sections can aid in 154 overcoming such difficulties and should be used as the director sees fit in reading of the church history section of the script februaryfebruary9 9 1978 a sketch is given of some of the history portrayed Iin11 n this productproductionionlon this informationformationinformationormationmatlon can and should be expanded and aids greatly in helping company members understandunderstanclstanci the impact of the message they carry

12124 the assignmentassignments3 that were given to carry over from qeaee rehearsal to the next are also recorded 13 some of the ideas recorded in the games are in note form

lu14 A categorical index to actlactivitiesacali citiesvities in appendixes C D and E is contained in appendix F this is given so the director can choose the games designed for specific purposes and use them according to the particular needs of his cast

exer c rehearsal exercisesrisesaises wednesday february 1 1978 7107 10 pm 1 electricity preparation none description players with eyes closed hold hands in a circle coach touches one person A on his head a certain number of times indicative of the number of times A is to squeeze the hand of the player on his right coach touches another player B a different number of times and B squeezes the player on his left 155 thus signals are going both directions around the circle coach can get more than two signals going side coaching none evaluation of notes

the durnurpurposedosenoseqose is to develop sensitivity to touch

2 follow the follower mirror preparation none focus following the follower description partners are assigned one player is designated as the leader A and the other B follows him as if he is a reflection of A in the mirror players do not break eye contact but follow their partner using peripheral vision the movement should be sustained so that it iiss not evident who the leader is to begin it may be good to suggest that there are rubber bands around the partners hands the object is to keep the rubber bands taut but not let them get loose thus each players hands will have energy but not touch the hands of his partner the side coach can indicate when B becomes the new initiator if the side coach sees fit he can tell the partners to both initiate movement which causes an increased sensitivity between them each becomes a 156 reflection of the other they must then be encouraged to use three dimensional movement using all the space possible for a greater challenge have the players execute this activity when standing back to back andor with their eyes closed

side coaching reflect change the initiator reflect what you see

dontdon guess ahead of what Yyourour partner will do extend your body movements follow each other keep the mirror between you con- centratecentrate

evaluation are the players moving simultaneously can you tell who is the initiator by the movement notes this activity increases sensitivity to each other it will strengthen the unity of the group and help them to play off each other in the future improvisational exercises to expand the activity the players can have three or four or more in a circle and follow a leader As they become more experienced and their sensitivity increases the participants could all move simultaneously while standing in a circle without having a particular initiator however this would be very advanced

3 machine see no 2 of appendix C notes expand exercises making sure that various parts of the body are in the machine besides just the arcisarmisarms and legs 157 4 guess who is leadinleadingdeading preparation follow the follower description players stand in a circle one player is sent out A leader is chosen and begins motion others in circle mirror him player comes in and guesses who is leading side coaching

be precise be exact mirror the group be a whole concentrate sustain movement dotdont make it easy on them be daring change leader to person on your right evaluation see if group is able to become more unified by responding in unison one way the group proficiency can be judged is by seeing how long it takes to guess who is the leader notes

As group gains experience expand the task to mirroring facial expressions vocal sound can also be used coach can make task more difficult by having the leader use vocal sound and using side coaching to advise tithemLiemlem to change the sound during the game changing the leader during the game can also increase difficulty so that the group will be forced to be unified as they combine their efforts to hide the leader 158

5 thehysbysftp emotionalmam0 lo10nainaj poorganiiiiill111 sm preparation

guess who is leading focus to become one as a group in the expression of emotion description all players stand in circle with hands in center coach gives various emotions such as frustration anger irritation jealousy love sadness loneliness etc players move as a group representing the given emotion through movement side coaching

see description TT evaluation movement and vocal sound without words must arise spontaneously with no one player being the initiator notes at first eyes can be shut for concentration but later opened as the coach sees fit thisthi s is in preparation for the feeling to be given in crowd scenes in the church history section see pages 252925 29 of script

6 faface6eae fexploratipja2plor ationI1 preparation none 159 focus reconstructing the detail of partners face through touch description one player closes eyes and feels partnerpartners face side coaching reconstruct the image of his face in your mind how far are the eyes set back wierewhere is the placement of his eyes and nose how far is the distance between nose and mouth and chin whatswhat the texture of the skin where is the hair line how long has it been since the men have shaved if this were the last time youd see this person could you remember exactly what he looked like Is one side of the face different from the other evaluation if concentration is high all giggling should stop notes

this should be done with players who do not know each other very well it could also be expanded to exploring the whole head the back of the hand eoulacould be used to eelfeelf the detail the purpose of this exercise was to develo-developp trust within the cast and to break down inhibitions the cast must feel close to each other so that everyone will feel comfortable in rejecting or accepting othersothersf ideas they must also trust each other in give and take acting on stage such as in improvisation situations 160160igo

7 ha ha preparation none focus losing inhibitions and totally relaxing description first player lies down second player lies at right angle with his head on first playerplayerlsplayers ls stomach this continues until all players are lying down first player says HA using diaphragmatic breathing second player says HA HA 11 and third player says

HA HA haffHA etc object of the game is to complete the action for all players without laughing if laughter begins all must start over side coaching none evaluation and notes it doesnt natteinattelmatteimatter too much whether the object of the game is accomplished as long as the group stays on the focus

8Q ealeediekaleidoscopekaleidpscopeidbsc preparation guess who is leading following the follower focus becoming one as a group igligi161 description players sit in circle with feet touching each player becomes an exaggerated character of his choice coach designates leader who calls out motions and all follow him the effect is similar to june taylor dancers of the jackie gleason show another similar image is the kaleidoscope the leader calls out such phrases as right hand lift and burst where both hands go up and everyone lies back on the floor different players lead as designated by the coach and make up routines side coaching change character in miamidmhamiddledledie of this motion evaluation players stay in character no matter what leader asks them to do absence of laughing indicates concentration notes this is done for fun and done in a tongueincheektongue in cheek manner the purpose is to strengthen character developmentdi because this show requires each cast member to portray many characters the ability to react in character and changeschange instantaneously must be developed

9 Machinmachine5 see no 2 in appendix C preparation

emotional organism follow the follower guess who0 is leading 162 notes

make a machine with interlocking parts without touching hands or feet any other parts of the body can be used coach gives the task of producing a product this should be accomplished spontaneously without words but through a feeling of unity within the group

10 emotional train preparation none focus communicating emotion nonverballynon verbally description all players stand in line single file facing stage right player on the front of the line begins by choosing an emotion such as anger hate fear etc and shows it using body language and his face toward stage right then makes 141uau turn and repeats action then turns 14 turn facing stage left and the player behind him and duplicates once more thus he does the action three times he then freezes and the player behind him picks up the emotion and passes it on in the same manner all remain frozen in the emotion when the end of the line is reached the end player chooses another emotion and passes it back up the line 163 side coaching keep energy high during freeze stretch or heighten your feeling

evaluation and notes maslmalsmatemake sure emotions are not superficial and surface but well

developed in that all body parts are involved your eyebrows 5 eyes shoulders hands5handsyhands arms etc1etcetca ifij players are not fully involved encourage them to heighten or stretch the emotions

11 sports preparation having seen or played these sports guess who is leading the emotional organism pattpart of a whole machine follow the follower focus making the game real without dropsprops description games are set up with umpire or refrefereeereearee as the game requires players on two teams and spectators the games played are basketball baseball footballf and soccer side coaching see and feel the bailballbali keep your eye on the ball work as a team spectators show your loyalties react to the referee see and work for the goal and baskets remember what youeyoure wearing feel the tension with your body feel temperature of the environment smell perspiration hear the sounds of crowd 164 etc make sure where the ball is going know who iiss playing what and the status of the game

evaluation and notes there should be very little verbal organization at the beginning of the game olvegivegive two minutes for organization this is used for the sports section of the script see pages 799679 96 of cliptcriptscript

12 neighborhood oanganggan go cart racelbacelbacerace preparation none

focus

concentrating on cnotionalemotional and sense memory of childhood play description players pantomime building their own go carts they line them up for a race down the hill tell the players that instead of revingroving up their engines for vocal engine sounds they move to the music to which they feel they want to drive ex william tell overture or the green hornet have race down hill

side coaching see the color of the cart as you shine it up feel the tightness of the bolts as you tighten them this is the best go cart you have ever made you know it cantcan be beaten let your 165

driving music express your feelings about the race and the

cart I1

evaluation different tempers and emotions shouldbeshould be evident in each player concentration should be totally childlikechild like or in

other words 5 the players should be completely involved in the cart and everything about it

notes additional coaching can be given for those having trouble finding a specific childhood personality for instance the side

1 coach might say this iiss Yyourour chance to show up your buddy if desired this exercise can be expanded by having a judge for the carts andor a policeman at the bottom of the hill so the players have to push the cars up the hill again to escape from him this exercise is in eparationepurationpreparationp reparation for ab jenkinss race car cene see page 89 of script through the above exercises a trust in each otherothers ability to create was built inhibitions were lost and a unity of feeling began to be present the idea for this activity came from bill cosbys go cart championship of the world found on the warner brothersbrotherstBrothersT album wonderfulness album no ms1634MS 1631634

thursday february 2 1978 tiot107107T 10 pm 1 paspass s the body preparation none 166 focus forgetting about physical self and concentrating only on mental imagery or the ansanswersatersvters to the questions being asked description all players stand close together in a circle one player steps to the middle of the circle he closes his eyes crosses arms over his chest uses his feet as a pivot point and falls stiffly into the arms of those in the circle the players in the circle pass him around and back and forth to each other before beginning the coach needs to tell the person in the middle to concentrate on a specific pleasant image side coaching trust yourself trust each other dontdon worry you wontwon be hurt make sensory contact to your image evaluation note the relaxed appearancappearappearanceaneanc e of the middle player note facial expressions are they just as relaxed going backwards as side to side or forward notes this can be expanded by having the middle player talk about an incident in his life as heshe passed from one to another members of the circle can also question him 167

2 tug 0 war preparation

guess who Is leading machine focus responding physically individually and as a group description group is divdividedieded into two teams red and blue A marker is put on the floor to mark the middle of the rope both teams pantomime pulling the ropedropekrope and winning or losing as the side coach directs side coaching red team is losing ground blue team is regaining feel the rope between your hands Is it pulling Is it burning feel your muscles in the back ofyourof your legs and knees pull as a team evaluation see if group reacts spontaneously such as counting as they pull check for concentration and group organization note the tensions in the bodies and faces and the breathing of the players check if they are really using their bodies notes this helps create a unity in the group and is also used to develop the ability to create the illusion of a real situation 168

3 emotional train see no 10 of feb 1 19781978.

4 emotional orchestra preparation emotional train focus creating a vocalresponsevocalgocal response to the assigned emotion and increasing or decreasing the intensity as the side coach directs description six to eight players stand in a line moving from right to left each player steps forward and says may I1 have an emotion pleapieapleasepleaseviseVI rest of the players sit as audience and respond at random to the request they give such emotions as anger hate prejudice envy sadness love happiness etc until all players have an emotion player says thank you and steps back in line the side coach then goes down the line and has each player give his sound and action on cue he then leads the participants making a few players increase and decrease their intensity as if he was conducting an orchestra side coaching none evaluation check the concentration and loss of inhibitions in the players note the increase and decrease in the emotion when required 169 notes one of the purposes of the exercise is to free the players of verbal responses

5 jazz band preparation

emotional orchestraOrches trCa focus creating and staying within the reality of a jazz band description five players become a jazz band playing their own melody with pantomimed instruments remaining players pair off and dance to the music side coaching before the game bebeginsgins side coach should discuss with players the elements of jazz how iit is melodically constructed what instruments are used and the give and take that the instru- mentalists employ feel youdyour music be sensitive to the sound if playplayinging a bass let your voice be a bass voice feel beat and rhythm evaluation note if a common melody is produced and all instrument- alists are unified in its production see if dancers play on the it reality of the situation ito170 notes this was done as experimentation in developing the script of the show for the entertainment section see page 111 of script

6 televisiontalktelevision talktaik show preparation part of a whole

focus creating a character and reacting spontaneously in a structured situationsituation description side coach assigns characters such as host co host trio of country western singers two TV men football player director author foreign actress the players improvise a talk show side coaching believe in who you are and the audience will too evaluation note the genuineness and consistency of the characters the actors should show what they are and not tell it they shouldntshould be performing to an audience but acting in the situation this should eliminate clowning going for a laugh etc viola spolin a specialist fforor improvisation theatre games explains thisth principle show dont tell is another common side coaching phrase showing is physicalphysicalizatphysicalizatlonizatloat lonion making objects relationships 171 feelings etc physical andallowsanand allowsdallows what is happening to emerge and be revealed telling is talking about what is happening instead of lettlletteiettelettingI1 ng it happen dialogue is permitted as needed and is not to be confused with telling an excellent phrase to help players physicalizephysic isalize out of the head into the body into the spacelskacelspacespacel nonotestes if there are extra players they could producepri aduceoduce a commercial the talk show host should be previously warned so he can prepare good questions to ask his guests you may need to remind players that they are not performing for each other but are creating

7 fifillilllillii up with sand preparation

drawing in see no 7ofbof7 of appendix C focus relaxing all body parts and active images in the mind description all players lie on floor with eyes closed and follow the side coachcoachs directions side coaching relax all parts of your body feel like youeyoure a hollow shell and begin to feel it filling up with sand side coach

v iolaioialoiaviola spolin theatre game file st louis cedrelcemrel 1975 p 46 172 should give instructions liin an order for instance you can feel the sand filling up your toes now your ankles and now it begins to drain into your calvescalvest try and move but the weight of the sand keeps you from doing so feel energy fill your body gradually the sand drains out of your body and you can feel the freedom of your limbs and begin to move explore the new space you now have and feel how wonderful it is to move once more slowly sit up and open your eyes evaluation none notes side coaching can be increased and expanded as desired

8 bitbliblindnd sculpturesculpture preparation face exploration focus using touch to duplicate a form description

players are put in groups one player A closes his eyes

A second player B gets into a stable position this position will need to be maintained for an extended period of time A with eyes still closed then molds a third player C into the exact position of B 173 side coaching be exact even in tiethetae duplication of the facial expression form every toe and finger constantly check to make sure all is an exact replica believe in what you are doing evaluation do they have the full and engrossed concentration of a child check concentration and freedom of touching another notes this improves sensitivity to one another and aids in overcoming the inhibitions of touch actors must trust each other

9 observationqbseryation assassignmentiznment watch people ten minutes a day notnotee the differences in their walks and attitudes the purpose of this is to help the players to know their characters insideI1 and out so that theycanthey eancan portray real people not just say lines

10 machine see no 9 of february 1 19781978.

saturday february 4 1978 9 am 12 noon 1 conversationconyersatipConyers atipn concentrationconcentratipn preparation none 174 focus concentrating on the conversation of another player regard- less of obstacles

description players form into circles of four and begin a conversation with partner diagonally across from them side coach gives time for a conversation to develop then steps between them and moves partners further apart allow time for discussion to continue then coach turns participants around so their backs are to one another conversation must continue coach moves players farther and farther across the room side coaching listen pick out your partnerpartners voice do not yell evaluation note how far apart players are from each other before they are no longer able to continue a conversation can they tell what the subject of conversation was notes this exercise increases the concentration of the players and also helps them understand how much the expressions on the face aid in communication when players turn their backs it is much harder to understand what they say thus on stage the dialogue is only part of the communication to the audience the body and 175 facial expressions must come from within and be consistent with the dialogue

2 guess who is leaddeadleadingdeading see no 4 of february 1 19781978.

3 dragon preparation

emotional organism guess who is leading

focus being a unified group description players close eyes get in a circle and put hands in the center of the circle follow the directions of the side coach

side coaching

move up and down from the middle outward in a pulse rhythm 1 keep together gradually you change into a dragon let me see the form of the dragon where is his tail head feet call the name of a player move away from the group now let me hear the dragon he begins to stalk some prey open your eyes and eat I1 evaluation sound should spontaneouslyspont rneously occur see if students move together as a unit 176 notes the blank represents a person in the group this exercise is done to increase unity but also to help overcome inhibitions it is also preparation for the james jensen dinosaur sequence see page 107 of script

4 campingc am preparation experience with camping focus feeling and using the various senses description all players lie on floor and relax they follow directions of side coach picture and feel the sensations that are suggested side coaching you are lying under the stars in your sleeping bag you can feel the rocks and pebbles beneath you so you try to become co- formfortabletable feel the cold air outside and the coldness of the parts of the bag that are not yetyebyefcyemc warm you relax and sleep but are anxious for morning As the sun comes up you get up and dressed let me see how you get dressed do you do it in the sleeping bag if so does it cramp you be aware of all your senses what do you smell see feel hear or taste itt177 evaluation note detail and exactness you may discuss what happened and how the players felt notes to establish a character a sensitivity is needed by the actor to the environment that surrounds him

5 audience reactions preparation

camping guess who0 is leading machine follow the follower focus concentrating on different reactions to various sports description players sit as if spectators of the various sports mentioned by the sidslaesidee coach such artennisastennisas tennisbennis golf football baseball soccer etc side coaching watch the ball react to the playerplayersplayersfsf problems did he miss who is ahead strike evaluation note the differences in audience response these should vary in relationship to the sport 178 notes other side coaching can hebe given according to the game also the group should be bleableabiebie to change quickly from one sport to another as required in the script the side coach should keep changing the sports being played to require fast changes by the participants side coach can also have it begin to rain cue the playerstoplayerplayersstosaosmoto show it is raining with their bodies instead of saying oh its raining since characters in the show will have to quickly change from one sport to another it may also be a good idea for them to chccacchangeagemge characters while watching the games

6 react to an enelenvirotinentrosmentronment preparation part of a whole campingCemping audience reactions focus being oneself but reacting in detail to onesone environment description side coach chooses two or three players from the group and gives an environment such as bossbossfbossa office florist shop locker room DonaldsmcdonaldsMc etc those players chosen walk into the environment and react to it side coaching conversation should not tell us the action but show us be definite where everything is how tall is it be sensitive to each other so your concepts of height weight etc are all the same 179 evaluation note detail and genuineness of expression and reaction notes the sequences should be discussed and evaluated and if necessary done again noting the changes this may be expanded by using the part of a whole concept example have one person create the environment and another walk into it change ages of those involved they can be their own age and then make them older the detail shown by the actors needs to be increased so that the characters will live for the audience

7 who reacting to aherwherwhere preparation part of a whole camping audience reaction react to an environment focus being sensitive to each other and environment description various situations are given bytheby the side coach ttoo the whole group the coach can divide players into various tasks within that environment if desired players then improvise any situation as they see fit such situations might be scientists working in a lab a family group predpredatingpreparingprepaxingawing to go on for a talent night show an archearchealogicalalogical expedition or congress 180 side coaching should be minimal unless needed to create more detail be sensitive evaluation be aware of the spontaneity of the group watch them create their own crises or problems 3 then watch them solve them reactions should be spontaneous notes this really pulled together the original cast interesting situations arose through improvisation such as a fire in the science lab discovering a dinosaludinosaur on the expedition and having him come to life such sensitivity to reaction will be needed to make the show a success the outcome of this exercise is indicative of whether or not the cast has become an ensemble encouragement also needs to be given the castscasteasteasts confidence in each other as a group had greatly increalincreaseded and dr oaks said ive never seen a group no matter what their experience come together as an ensemble as quickly as you have it

8 As s ienmentignment work to increase your sensitivity by being aware of what is going on around you 181

taetuetuesdaysdayaday february 7 1978 7107 10 pm 1 escapeescapefromfrom A concentrationconcentratipnconooncehtrcestr itionaition cafflecafflgC preparation

react to environment who reacting to where focus being one with the group and reacting to the situation description players lie on belly on the floor as if under an elbowhighelbow high barbed wire fence they close their eyes and are in the act of escaping side coaching crawl toward each other come together as a group to protect eacheach other make sure everyone is there but no talking all decide where to go but no talking and eyes are still closed you hear steps of someone approaching side coach then silently pulls some players away from the group evaluation notice if group really reacts as members are pulled away do they do anything to save them do they risk getting caught themselves notes lights may be turned offtoroffforoff forfod a greater effect trust and concern for company members was developed in a greater way than had 182

existed before discussion may follow concerning the feelings that were elteitfeltfeitf

2 action continuation preparation i machine

focus creating a continuation of an action with verbal confconfir-ir mation description side coach designates one person from a group of three or four who does an action and adds a sentence describing it for example first person may say it ice cream drips slowly it and dcdo an action describing it the action continues and the sentences are repeated A second playeplayerr whoever feels motivated plays off the action of the first for instance the second player may say we must wipe it up and do such an action this continues until all have joined in side coaching none evaluation observe the quickness of innovation shown by the players does each playerplayedplayers sentence fit in with the others 183 notes this can be made more complicated by using more people or seeing if one group of three or four can somehow hook their actions together with another g-roup respect for each playerplayers creativity is developed by this exercise

3 be peodlepeoplepeddle or objectspbjectsobjejobje ets preparation action continuation machine focus creating a real environment as a group description side coach gives the places or things to be and the group responds side coaching be children doing anything be ducks eggs or ducklingsduc klings be aware of the weather it can be rainy sunny cold or hot be tightrope walkers A family of tightrope walkers be lions be lions gathering together their haresharems be workers on an assembly line work together make your ware see it touch it smell it t relate to it Is the factory hot be lawyers on a corporate board be ridridingonridingridingtoningonon a bus in new york you are strangers to each other feel the environment be a boxing ring be the cougareatcougareat student cafeteria at BYU make it real be a forest feel the wind 184 evaluation note how quickly the players can change from one environment to another note detail also notes it is good to have players be individuals and then go into groups as with the lions and tightrope walkers the first part develops a character and the second part develops a relationship with others still using the character this exercise was used to stimulate creativity as this show required the cast to build many inanimate objects with their bodies thus the cougareatCougar eat was especially useful where the players need to become the grills osterizersosterizers1 etc

4 reading description

the assistant director now read a quote from respectreshecteeckeect for actac ing by ufauta hagan describing an important element of acting of which the cast should be aware if I1 compare myself to a large meaty round apple I1 discover that my inner and outer cliche image of myself is only a wedge of ititpossiblypossibly the wedge with the rosy cheek on the skin but I1 have to become aware of myself as the total appletheappleappie the firm iinner1 nner flesh as well as the brown rotten spot the stem the seeds the core all the apple is me themorethe noremore I1 discover the more I1 realize that I1 have endless sources within myself to put to use in the illumination of endless characters in dramatic literature that I1 am compounded of endless human beings depending on the events moving in on me my surrounding circumstances relationships with a variety of people what I1 want and 185

whatswhawhatts fcsacs in my way at a given moment all within the context of my unique identity 2

notes

the cast discussed that an actor must know every detail about himself so he can use it he must have a high self concept by now the ensemble had developed trust and love for one another and could create at the utmost level for instance if one knows himself he can expand a little evil thought of pushing a brother down and make a character out of it as in the mob scenes of the script if one knows his character it will free him to react to others instead of concentrating on his character

5 acting is doinedolnedoing preparation

machines be people or objects who reacting to where react to an environment focus being a character or reacting to a character as oneself description choose two men players and give them several situations in each case one of the players is himself andtheand the other is a character a gas meter man comes up to the door knocks etc b little boy selling candy at the door c an elder comes to

2utaautata hagen respect for actiaatiacting haskel frankel macmillan new publishing co inc york 1973 5 p 242524 25 186 see his companion from the mission field choose a man and a manawomanawovonanhomanawomannana a sunday school superintendent comes to visit a woman in his ward b a woman comes to see her old boyfriend choose another man and manawomanahomanawomanwogoman a landlord comingcoining to collect rent b man comes over to a womanwomansgoman apartment she wants to date him but he doesndoeandoesnt want to date her c reverse last situation so he wants to date heriierlierller but she doesnt want to go out with him choose two women playersaplayersa avon ladiadladyY at the door b an english teacher comes to the door c one of the classiest women in the ward comes over now various players are chosen each being themselves in the following situations a one woman goes to see a man b one man goes to see another man c all participants go over to one layersplayerP house for a party while at the party the players take an emotion they may be feeling and react accordingly then ngethechangethechachange the emotion and take on a character that still has some of own the playerplayers1 qualities side coaching none evaluation genuineness should be observed notes some of the directions could be side coaching but to give an overall view of the exercise they were all included in the description these exercises were designed for college students 187 but may be varied according to the cast members going through these various situations develops an ability to change from one character to another quickly which will be necessary in the show the use of various emotions is also developed

6 library preparation acting Is doing be people or objects focus concentrating on different reactions depending on the emotion being displayed description players play themselves studying in the library talking etc is done side coach then asks them to change their emotion they play on this emotion and then are asked to change to the emotion of the person on their right emotion is changed one more time on cue from the side coach side coaching see where you are help me feel it react in character

7 emotionalenotEmot lonalional orchestra see no 4U of february 2 19781978. 8 build a structure preparation

be people or obertsobectsobjectsJ S acting Is doing 188 focus making a realistic building using own body in conjunction with those of the other actors description various buildings are built with the bodies of the players the following buildings were built a barn b new england churchcchurchchurchy c paddle wheel steamboat d old train side coaching sherelswherelswhere the bell in the tower Is there a loft in the barn how does the train move build structure as audience will recognize it concentrate your efforts on the most important part of the building evaluation note the shapes of the bodies and how they are used to construct these edifices also the group should work this out together notes this was part of the development of the script for the various structures used other buildings cars etc may be added to this exercise if desired appendix I1 shows what was developed in the original production but new ideas may be developed and used as the director desires 189

29 assignment

watch three people and notice how they vary in their walks be prepared to show tomorrow

wednesday february 8 1978 7107 10 pm 1 relaxation and manimanipulationmanipulatipnionlon preparation none focus being completely relaxed and trusting partner description players are paired off one lies on the floor and completely relaxes while the other player makes sure helshe relaxed by moving his head hands arms legs etc then partners trade places side coaching your head feels like a bowling ball as your partner rolls it around in his hands you feel the weight of your whole body your legs are sinking through the floor evaluation note how completely relaxed players are do they trust their partners 190 notenotess this is done to relax tension and free the senses so the creative process may continue the walk assignment see no 9 of

toe february 7 9 1978 can beioeloe checked after relaxation and manipulation ft is completed walks could be used as part of the characters portrayed

2 run and freeze see no 6 of appendix C notes vary the exercise to walking to a beat and have players freeze in various shapes examples a round b square c jagged d tallest shape e thinnest shape f fattest shape g most gentle shape h most boxlikebox like shape i longest shape j most diagonal shape then side coach calls the shapes out without having players walk in between the cues other shapes may be added the purpose of this exercise is to make the players aware of what their bodies can do to create the various forms they will build in the show

3 concreteoncveiq seuicu itureptureeureucpur e preparation blind sculpture run and freeze focus creating concrete inanimate objects with bodies 191 description divide players into partners and have the first partner A shape the second player B into the foliofoliowingfollowingwing shapes a tabletabietabieble b chair c lamp d sink e potted plant f grandfather clock g television set h fireplace the partners change places so the objects are developed babbybby a then f through h are created andnd builtbulitbu lt with the bodies of the two partners the same process is repeated with four players side coaching none unless detail is missing evaluation note the use of the bodies and originality notes

this is where many of the structures for the john Q public scene see pages 119125119 125 of script were developed again the same structures used in the original production may be changed and developed by each new cast

4 sardines preparation pass the body blind sculpture face exploration focus being sensitive to sound and touch 192

description all players close eyes side coach touches one player who opens eyes finds a place to hide and silently hides there other players search for their missing comrade and when they find

f him they squeeze I1inn beside him 5 being quiet so no one else hears when all players have ffound him game ends

side coaching none

evaluation notice which players use their senses to find the hiding place

notes this game works best in a large room with the lights out this exercise heightens all senses but sight

5 be build and switchswi t ch preparatpreparationilonflon react to an environment be people or objects focus building an environment with ones body or reacting to such an environment 193 description players write down several objects that remind them of each of these buildings or shops the items the original cast listed also follow a sawmillbigsawmill big saws heavy logs sawdust chute

b bakery donuts 3 breads cakes c tailor shoptapeshop tadetape measure sewing machine scissors d cobblers shop cobblers bench shoe leather e hospihospitaletal flowers IV rolling bed f disco mirrors flashing lights speakers

90g TV studiobrightstudiostudlo bright lights cords broom microphones TV cameras clap board the players then build each shop or building on cue creating the listed items two to three users are also appointed who go and manipulate the various machines and structures built by the ayersTplayersplplayerst bodies different users are designated for each situation improvised conversation is allowed once a through g are firmly established the side coach quickly calls out a through g in different orders so the players must quickly switch their focus and position side coaching before the scenes areazeaxe created close eyes and pull into yourselves pull all energy into yourselves during situations show us dontdon tell us conversation must be spontaneous if 194lgb you step in a puddle show us get it together react to each other users use senses how does it feel on that floor evaluation note spontaneous conversation and detail in pantomime note exact location and dimension made by the ayersTplayersplplayerst bodies if an object is square it must look square players should be able to quickly change focus and situation for the script will f require it notes any additional stores or buildings can be added to suit local additions to the script new structures can be developed by the players 5 for those in the original script do not need to be used this would make the play more of the performers own creation which would unify them the purpose of this exercise was to create places qquicklyu4ualck2y and learn to change focus and position at a momentsmomenta notice

thursday february 9 1978 7107 10 pm 1 ustinEtrustinefrustineTrtrust inelneing a partnerpart ner preparation pass the body emotional organism escape from a concentration camp face exploration focus trusting a partner completely 195 description

players are paired up with those whom they do not know well one player closes his eyes and is led by his partner over obstacles which have been previously set up by the side coach chairs tables etc partners trade positions the process is then repeated the same process is again used with only vocal instructions being given by the leading4 partner evaluation note if complete trust is shown in the leaders Is there hesitation in following the directions notes this increases the trust within the group this exercise can then be expanded to one player leading four others who have their eyes closed

2 be buildlbuildtbuilabuild and switch see no 5 of february 8 19781978. notes quick transitions are polished

3 readingreadiqg pfof the churchchur ch hihistory section of the scscriptt tentative parts were assigned background of the script was also given so cast members could better understand what they were going to portray excerpts from this background follow the mormon battalion was the only battalion in the US army composed of men who could sign their own names A history 196 book before world war ilII11 said that mormons never contributed much to the world because their converts were drawn from the lower classes in the l800s1800s this is the type of concept that we as a cast are trying to dispel nauvoo lasted for only six years but in that time over one thousand homes were bulitbuilt it had been a swamp but was drained and made into productive land by the saints they knew iitft could be done and in five years it was the largest city in the state nauvoo was used as a model by brigham young for nearly four hundred communities that he established in the west each settlement needed all the people to make it work and various individuals were called to go to establish a town because their professions were needed to help a community function by 1900 there were over five hundred settlements scattered throughout the west and sixty thousand converts were absorbed in twenty years the nauvoo temple was architecturally different from any other building in the area and of course the tabernacle was an architectural marvel it was for one hundred years the largest single span building nailsnalisnalls were not even used in construction all this was done with converts many of whom did not speak english

saturday february 11 197819785 9 am 12 noon 1 music rehearsal learned the words and music to nauvoo

2 instructions cast was told that iflf they were late a inelnefinef would be imposed 197

3 emotional orchestra see no 4 of february 2 19781978. notes

emotions used were those to be used in the crowd scenes toward joseph smith disgust amazement joy jealousy prejudice etc were used

4 run and freeze see no 6 of appendix C notes this is varied by walking to a beat the players are to personify an emotion when they freeze emotions used were amazement incredulity not want to believe disgust prejudice and violence the group then came together on cue from the side coach and were instructed to act as a mob and move together personifying the emotions as a group emotions were changed quickly so that the change was instantaneous the purpose of this exercise was to lose individual identity and act as a mob

5 emotional organismor anismaniam see no 5 of february 1 1978 J notes

the group was cued tobo go directly into this exercise from nonoo 4U above

6 emotion and diadladialogueloglae develonmentdevelopmentDevelonment preparation emotional orchestra run and freeze 198 focus saying the dialogue as a result of the emotion within oneself the technical termte4rm for this is it reaching a point of verbalization description

the script is divided into basically four mob scenes see pages 25 26 27 and 29 of script each reflecting a different emotion mentioned in the stage directions the lines for the first mob scene were read by the side coach and the players came together in that emotion as an it emotional organism now those designated in the script to say the crowdcrowds lines said them and again the players came together as an emotional organism next the players became people withwieth these same emotions and repeated their lines this sequence was used for each mob scene side coaching let the emotion grow stretch it expand it dotdont lose emotion when you use words evaluationevaleationluation note genuine spontaneity of the lines coming from the emotion are their bodies responding accordingly notes emotion needs to cause them to speak instead of the lines causing the emotion genuineness here is very important as the prejudice and hate against the mormons will be lost to the 199 audience if the actors are not genuine A melodramatic effect could also occur which would destroy the impact of the message of this scene

17 neutral to mobster preparation emotion and dialogue development focus changing from a neutral character to one with emotion description players mingle as neutral characters characters must be defined by the individual players joseph says his line and I1 told my friends see page 25 of script when he feels it individuals in the crowd choose an emotion and respond with their lines and use their bodies to express the chosen emotion side coaching feel the build concentrate emotion must come from withinwithin evaluation note spontaneity of the crowd did the lines come as a result of the feeling within did their faces portray how they felt 200 notes this exercise must follow immediately the one preceding it care must be taken that this scene is genuine for a melodramatic effect is not what is desired

8 makimaklmakingne products or worworking with objects preparation part of a whole glass capsule acting Is doing react to an environment focus being detailed in the pantomime of the task performed description each player chooses a task to make a product from leather rope etc or work with an object such as bonnets pottery jewelry watches etc the items produced in nauvoo are listed in the script see pages 363836 38 of script players may work together if needed the task must be pantomimed exactly so that by seeing it for twenty seconds the audience will be able to tell what it is individuals how what theyve done to the rest of the players 4 side coaching see and feel its weight what texture is it if itsit shiny see it change in the light how does it smell how heavy 201 is it what temperature is it how does your body feel are you tired do you have bilbliblisterssters evaluation can the audience know immediately what task is being performed do the players feel the objectobjects texture and weight are they detailed in their pantomime notes thithlthiss was used to experiment with what could be done with these various objects the sequence of the young man going to visit the girl in nauvoo was developed from this exercise this can be varied if the director sees fit see pages 363836 38 of the script

9 johnny johnnybutcherJohnny Butcher boy preparation part of a whole acting is doing react to an environment making products or working with objects focus pantomiming a task with detail description the players divide into two equal teams and stand on parallel goals twenty or more feet apart the side coach gives the first team A a type of factory to be acted out A holding hands and skipping toward the other team B says johnny 202 johnny butcher boy coming for a trade the following dialogue occurs each team speaking in turn I1inf n rhythm the second team B answers A and says whaswhats your trade A says pink lemonade B says get to work and show us something if youre not afraid A comes as close to B as they dare and act out their trade or occupation B tried to identify what is being acted out and when someone identifies it correctly A runs for its goal while B tries to tag individuals all who are taggedtagg d join the taggers side B is given a factory to pantomime and the process is repeated both sides have the same number of turns and the team with the largest number of players at the end wins the tasks given were a gristmilltwogristmill two stones for grinding b spinningwheelspinning wheel maker c printing office d debaters and lectures e circus f quilting bee g corn husking and soonsogoonon evaluation the quicker the teams guess the action the more exact the pantomimes are notes this activity was done to increase the ability to make visible the invisible the playersplplayerstayersT senses should also be increased as theyfeelthey feel and see the objects with which they are working also everyone is needed to work together to get an idea across as quickly as possible what was developed was used for the nauvoo sequence see pages bobuboub404440UOUUUO 44UU of the script 203

tuesday february lu14 1978 797 9 pm 1 guess who is lealeadingdeadingdea see no 4U of february 1 1978

2 machine see no 2 of appendix C notes these machines can be real or imaginary

3 scscript description

worked on mob scenes pages 25 26 27 and 29 of script director should help actors become more specific in character development

wednesday february 15 1978 7107 10 pm 1 relaxation with lilightdight preparation relaxation and manipulation fill up with sand focus concentrating on feeling an inner light description lights in the room are turned out all players lie on their backs on the floor all concentrate on an inner light growing within them and feel what the side coach describes when everyone is sitting up at theandtheendthe end lights go on 204 side coaching feel a light beginning in the center of you it emanates out and begins to grow and spread to the elbows knees etc it begins to fill you it gradually fills your arms and hands and shoots out of your fingers to others in the room it bounces off the walls and ceiling now you call back the light and begin to pull it back inside of you it leaves your fingers and arms and begins to once more center itself within you when you feel that warm glow inside of you sit up evaluation discuss with the players to see if the usual images became actualized in their bodies notes thithlthiss exercise is done for concentration and relaxation

2 johnajohnny johanjohpnjohnny butcherbutcher bozboy see no 9 of february 11 19781978. 3 beautebeauty shohshop preparation part of a whole acting is doing react to an environment making products or workinworkingg with objects focus using senses to make the beauty shop seem real 205 description players take blocks and set up a beauty shop action conversatconversetconverconversationsat ionlon etc are all improvised side coaching feel the hot air from the dryers how does the soap feel in your haihalhair1 r do you want your hair cut can you affordthisafford this luxury do you go every week or is this a special occasion evaluation was the situation genuine or phony was the conversation spontaneous was it real tobo you notes this exercise helped to increase the senses in using them to create an environment that was real to the actors and the audience

4 sharipshariysharingG experiencese2periences criptionscriptiondesdescriptionpes erlderidcriptionvionvlon here the cast talked and shared experiences some of the following may be used to increase motivation one of the cast had spent the weekend with billy caspercaspers family and expressed to us how mormons stuck out when in a crowd because of their clean living brother casper would go to the cocktail parties but because of adherence to the word of wisdom he always remained sober and in control people look up to us as Morcormonsmormonsmons and expect us to set an example to the world 206206

dr oaks then told us how we would build the tabernacle organ on stage with our bodies wedwe also be the tabernacle choir the music would stop and individuals would step out tell what theyd done 5 and resume their positions sculptures on temple square would be formed by us and the artists would be introduced this is why our senses must be sharp as we will need to portray many people and each character shown must be different after several weeks of rehearsal sometimes enthusiasm dies down because of the experimental nature of the show some had questioned the showsshow final success because of this dr oaks explained that one of the gravest dangers for a production iisf s that the actors lose faith in whatswhat happening its in the mind until completion the script is only a skeleton of the whole and the flesh brought to the production lisisLLs tenuous and vulnerable and can easily be destroyed we furnished the flesh and no matter how we felt because of past dramatic experience or lack of it we must only say and think the positive satan is going to try to destroy the effectiveness of this show this is not a regular type of production like most plays as itift demands more from the actors and therefore is more theirs it is designed for a specific purpose we catcant lose faith or focus in what we are doing we will fly by inspiration iiflf we are worthy we must be committed to do all we can to make it happen 207

5 script description blocks were set up for the beginning of the show see page 21 of script this may be varied from what was originally used depending on the stage area and the directordirectors discretion players get into unusual positions on the blocks sitting with legs up lying down up on one elbow etc lines are given through the mob scenes pages 25 26 27P7 and 29 of script and actors move as they feel motivated the crowds1 separate from the other actors side coaching talk to the audience help them feel what you do talk to the three sides of the audience sell it to them

6 musicmusiesc rehearsal

thursday february 16 1978 7107 10 pm I1 interdependent sculpture preparation kaleidoscope machine pass the body focus depending on other players to keep standing description players get into any position in which they are depending on another for stability for instance two players may hold hands and lean apart knowing that if one player lets go both 208 would fall other players join them until all are dependent upon each other follow directions of the side coach side coaching make sure coutreyou1reyoutre depending on another now free all parts that aretarent dependent for instance if two feet are on the ground and you need only one then lift the other up now shoot all your energy upandepandup and out through your fingers evaluation none notes this is to develop trust and dependence on one another

2 guess who is leadialeadingdeading see no 4 of february 1 1978 3 follow the follower see no 2 of february 1 1978 notes this is first done with partners the leaders then change and sound is added to the movement two pairs joiniollolloii n together to make a foursome movements are made three dimensional

4 script preparation acting Is doing react to environment johnny johnny butcher boy part of a wholewhoiewholes focus incorporating the emotion needed for each scene 209 description instead of saying different kinds of mormons in the first scene actors say different kinds of cereals the narrators speak over the noise and then freeze

side coaching understand thithethecerealscereals be aware of their opposites level of excitement goes up say each one differently description crowd scenes rehearrehearseded side coaching show with bodies without words feel the feeling now add words description joseph sr and lucy set up household tasks lucy kneading bread and joseph sr ffiling a plow side coaching be aware of the height of the table lucy how does the flour feelfeelafeel9 it may be suggested to lucy that she knead some breadatbread at home so she can get the feeling of it and perfect the pantomime can you hear the file joseph how big is the plow how long have you been working on it already can you feel your aching muscles 210 description first two crowd scenes see pages 25 and 26 of script the where of a country church for the first scene stage left and front of a general store stage right is used by the crowd

side coaching ridicule without understanding be different character in crowd each time set age and personality for each crowd scene when narrator says ff later ff that is the cue to be another character in the crowd walkwaikwelik differently find a reason or motivation to go over to the general store mob moves to stage right for second mob scene do you need candy sugar flour feel the weight of your hat what color is your dress how heavy is your dress description three witnesses sequence see page 26 of script side coaching I1 need to sense oliver cowdery translating dont push the words just tell us side coach can also explain here that the people are like poetry a novel on one page each little vignette holds years and a lifetime of experience give all of this in your characterizations description third crowd scene see page 27 of script to oliver cowdery As you sign your nahenajiename this is your commitment of life 211 and property feel the commitment to david whitnerwhitmer1athitmer bear testimony to a personal friend side coaching actor with first line of this crowd scene calls a town meeting feel your emotion and have it cause you to say your lines are you indifferent favorable envious full of hate pick one emotion and follow it through with your character crowd confusion grows to feeling of hitting then freeze be sensitive so freeze together why did you go to the meeting to lynch the Morcormonsmormonsmons to find out the gossip to defend them the where for the fourth crowd scene was set it was to be out on a road under the sky at night

5 assignment read church stories and get the history and a feeling of the spirit of these people you are portraying gain an understanding of them and as you feel close to them you will be able to capture the spirit that drove them to their heights of achievementachaehielementevement

tuesday february 21 1978 tiot107107T 10 pm 1 follow the follower see no 2 of february 1 19781978. notes move from a stationary dositpositionpositlontonion turn back to back and greater concentration iis1 s needed 212

2 serscript run through to artimus millet see page 28 of script director can conduct this as he desires

3 johnny johnny boy see no 9 1 19781978. johyjohp9zluzl 2 butcher of february 4 music rehearsal notes rehearsed whaswhats a mormon ever done nauvoo and f battle hymn of the republic

5 johnny johnny butcher bozboy see no 9 of february 11 19781978. 6 charades preparation johnny johnny butcher boy react to an environment acting Is doing part of a whole focus creating a detailed pantomime of a particular business description divide players into two teams one or two players from each team come to side coach and receive the business to act out for their team the team that guesses first wins the round the businesses given were western savings & loan Safsafewayeway kennecott copper mine husky oil pet milk and dow chemical 213 side coaching be specific think of what characteristics each business hashaslhasi I1 what emblem do they harehave what mascot what makes it different from anything else evaluation how specific were they if the teams guessed quickly the pantomime was communicated notes this was done in preparation for the ending scene of drespresidentspres identsidenta of companies see page 119 of script even though the idea of acting each bubusinessiness out was not used in the final production it may be incorporated into the script by the director if desired in exercises such as this 5 the actoractors ability to create unique ways to communicate with the audience is developed so that the director can depenadepend upon them to experiment and make the material fascinating to watch

7 breathebreathebathe and relax preparation fill up with sand relaxation with light focus concentrating on relaxation and breathing 214 description players lie on backs on the floor relax and follow the directions of the side coach

side coaching

relax between your shoulder blades neck thighs 5 fingers and stomach add other parts of the body if desired concentrate on the sound of your breathing how dies it sound inside of you can you hear your heart beat can you hear it beat in your chest in your neck in your temples when you can hear it in your temples sit up

evaluation note quiet concentration of the players

notes this exercise not only helps to relax the players but also aids them in becoming more aware of their own bodies

8 shades of emotion preparation emotional orchestra emotional organism

focus felelldelellfeelingi ng the difference between similar emotions description players stand in a circle as a group and when the side coach gives the emotion thethegroupgroup responds to show the emotion sound 215 may be used if it comes out naturally organically the feelings derived from the following side coaching instead of the action itself could and in some cases should hebe given side coaching contentment hug kiss happy silly enthusiasm fatigue anticipation evaluation note the difference between happy and enthusiastic and fatigue and contentment the players should be sensitive enough that a difference should be seen notes this exercise will illustrate the sensitivity of the players such sensitivity is needed in this script particularly with the differences in emotions in the crowd scenes some of the emotions to be portrayed are very close in concept but a difference must be seen

9 choreachoreochorepgreraphygraphyaghy rehearsal

wednesday february 22 1978 7107 10 pm 1 negativetive space preparation sardines face exploration blind sculpture focus filling in all space that is not yet occupied 216 description players choose a partner they stand facingfacing each other and move bodies hands and legs to fill in all space that is not occupied negative space for instance when a person A is

standing there is space between his legs his body his arms 3 etc atsalspartnerAlsA partner B moves to fill in this space and by doing so creates new space which results in constant flow of movement between the players when players feel comfortable outputdut groups of four then eight then the whole group together everyone continues toloouio150wio try and fill negative space side coaching look for any little space all around the body notice new spaces are created whenever you move make movement sustained and continuous evaluation are inhibitions of personal space lost notes this exercise again creates a feeling of trust and unity within the group it also makes one aware of the various ways onetsoneconets body can be bent to fill in space this helps to prepare players for various structures to be built and helps them feel a unity with one another 217

2 statue fun preparation blind sculpture

focus creating a statue description players get into partners first partner sculptures a

statue determines his position facial expressions 9 etc then he shows several friends and an improvisation results

side coaching what are his eyes doing Is the statue walking standing sitting Is he holding something where is he going Is he smiling about the statue what is he thinking evaluation note the playerplayersplayersrsr creativity notes this is in preparation when the cast will bring pictures of the statue to be portrayed and then sculpture them see page 68 of script

3 run and freeze see no 6 of appendix C notes positions that are used are high low big small etc shapes can also be used here 218

4 machine see no 2 of appendix C notes do not use limbs in this machine use levels and move in different directions than just up and down then form machine into a production line producing a product players must feel the speed together side coach goes down the line turning off each player individually the speed may also be varied by the side coach if desired

5 scripscript description the nauvoo scene is finished and parts assigned through the art section page 68 of script the script is then read through and the actors experiment with different ways to use their voices as they are sayingtheirsaying their lines the players are then asked to form two steamboats because of the exercises done previously these should be no problem to create however those in appendix I1 figures 3 and 4 can also be used if desired

thursday february 23 1978 7107 10 pm 1 musicus lc rehearsalhyesbyesft88 J practices whaswhats a mormon ever done nauvoo and battle hymn of the republic ff other music can be rehearsed also if desired 219

2 rehearsal relocationn moved locations and began to rehearse in the margetts arena theatre the theatre where the production would be given

3 sardines see no 4U of february 8 1978 notes this was done to help to acclimate to the new surroundings

4 script description cast members are told to get into a ball and concentrate on pulling all of their energy into themselves on cue from the director cast jumps up and immediately begins arun of the script this may be conducted as the director sees fit the nauvoo craftsmen produced sequence was also improvised see page 36 of script

saturday february 25 1979 7107 10 am 1 hum your own tune and join itJ to0 another11016 preparation guess riowiomlowho isleadingmisleadingis leadingdeading follow the follower focus

I1 Ffindinginding a tune within oneself 3 making it filliiiliifill one s being and joining it to another 220 description each player gets in his own part of the room and begins humming a tune he also follows the directions of the side coach side coach instructs playersplayeris to choose a partner and come together humming their own tunes and remain together until their tunes join and become one

side coaching allow the tune to fill your toes fill your ears fill your legs your arms feel it emanate from your whole body evaluation note each players complete absorption and his ability to join with the other playerplayers s tune one player should not give into the other the tunes should just mesh and become one because of the ayersTplayersplplayerst sensitivities to each other notes this is done to develop a higherahigher degree of sensitivity to one another also an ability to feel together is imperative for this cast because there will be times when no cues are given but the actors must know when to respond merely because they are one with the group for instance 5 in the martyrdom scene the cast must feel when to turn toward brigham as their new leader

see page 53 of script 221

2 gibberish preparation hum your own tune and joinjoijos n it with another follow the follower guess who Is leading

focus feeling the other actoractors intentintentioni1 on even though unintelligible words are spoken it description players sit with a different partner than in the last exercise and tell them gibberish nonsense talk about what they did when they woke up this morning side coaching do not act it out just tell it evaluation

could the players really understand A discussion may take placewhereplace where the playerplayers3 express how they felt could they communicate without words notes this develops sensitivity but also shows the importance of communicating in other ways besides speech for an actor to be truly sensitive to other actors and the audience this ability must be developed 222

3 conversation concentration see no 1 of february 4 1978 notes the original exercise is varied by having all players sit in a circle across from a partner with backs toward the center of the circle everyone talks to their partners about what they plan to do tonight loud voices should not be used concentration must be high forfor the players to hear and carry on this conversation the purpose is to increase concentration as well as realize the importance of facial and body contributions to total communication

4 music rehearsal

5 independent sculdculsculpture see no 1 of february 16 19781978. 6 script description blocks were put in position for the opening of the show the platforms had not yet been built so their position was taped on the floor in this way the cast could work with them the rest of the nauvoo entertaientertainmententertainentertaital anentament section see pages boubbobbkokh404440UOUUUO 44UU of the script was developed and practiced rotating the activities of the three groups and perfecting the pantomime see diagrams and explanation of the activities in section of script mentioned above finally all three groups became the brass band side coaching give it energy go through that section again so we can see which parts need work realize where you are get in a small 223 ball draw your energy into you now zoom out in total conce- trantrationtion go get that small light inside you total concentration

7 assiassignmentedmeenme nt sculptors have pictures of sculpture you need to make bring to rehearsal tuesday these were used in developing the statues for the art section see page 68 of script on march 3 1978

tuesday february 28 1978 7107 10 pm 1 environment warmupwarmwa up preparation none focus imagining in mind whatthewhat the side coach describes description players sit in a comfortable position close their eyes and picture in their minds the scene described by the side coach players must feel like they are really there side coaching close your eyes darkness envelopes your head you see a light in the right part of the darkness which grows larger and largere within the light you see a city by a river it is largea and beautiful the houses are built in new england style and the streets are straight and clean there are steamboats 224 on the rivers edge you see yourself on a steamboat approaching the dock in this sparkling city of nauvoo A familyfamily is waiting to see you and you scan the crowd looking for a tall blond father and a dark haired wifegife she is shorter than her husband and wears her hair in ringlets As you get off the ship you see your host and look into his kind blue eyes this iis1 s your prophet beyond him on the hill overlooking the city you see the temple this is your new home nauvoo evaluation and notes explain to the players that this is the image they must see as they build their city of nauvoo with blocks and pantomime the audience will pose as part of the city so the cast can look into the audience and see other parts of the city not specifically built on stage

2 chorechoreography2&ra2hy rehearsal the choreographer gave us some stretching exercises to limber us up and then taught the choreography for whatswhat a mormon ever done see appendix L entry 11.

3 stelstetstagee pictures preparation interdependent sculpture focus being aware of the position of the other players so that all can make a balanced stage picture 225 description players are given a stage picture by the side coach examples forest prom pictures restaurant etc specifics from the script may also be used the side coach says snap and all freeze players then look to see if the stage picture is balanced in the image they are giving to the audience side coach says focus and eveeveryoneryone adjusts the picture to the desired balance side coach says snap and cast freezes once more

side coaching be aware of the negative space on all sides of you so you create a nice picture for the audience energy evaluation

are the pictures pleasing to the audience do the playersplayers11 bodies show energy notes this awareness of balance in a stage picture is vital to this script as actors freeze in various stage pictures throughout the derfperformancemanceorarmanceormance if something is unbalanced the audience will feel uncomfortable 226

4 scriptbcrscr description the script was developed through the brownbrowninging gun shop sequence see pages 505250 52 of script this can be done at the directordirectors discretion

5 choreoechoreographyChoreoE raphy rehearsal 6 block assil3nmenassignment blocks were assigned to various cast members and nauvoo temples this alleviated confusion as everyone had a particular task to perform

7 script description

script was run through the browning scene see page 52 of script

side coaching be clear in your pronunciation expand your ideas in your pantomimes of building nauvoo make them specific keep pace up so the show does not drag

wednesday march 1 1978 7001030700 1030 pm 1 coordinationcoprdination warnwarmupswarm ieslesups preparation none 227 focus controlling the body description players pat head with right hand and rub stomach in a circular motion with left hand then change and rub head with right hand and pat stomach with left hand players next put right arm straight up in the air on the count of one right arm goes down toward floor on the count of two count repeated one two one two etc left arm goes straight up in the air on count of one out to the side on two down toward the floor on one up straight on two out to side on one etc both arms move simultaneously side coaching none evaluation note playerplayersplayersfsf drofprofproficiencyi1 clency in performing the task notes this is done to increase coordination and concentration

2 jmartyrmartyrdomdom warmupwarwarm up preparation none focus listening to side coach and visualizing the event described 228 description all players sit down and hold hands listen to side coach and visualize the incident side coaching picture three people you respect and love very much give players time to choose the people they will use they are sitting on the stand in the chapel one of them the one you love the most gets up to speak you bask in his love A messy dirty man comes up the aislecausingaisieaisle causing a commotion the leader your leader follows him out of the building the other two men follow also the meeting continues but there is tension in the air suddenly a shot is heard one man returns and as he comes through the door and you look at his face you know what has occurred pause your leader is dead evaluation none notes do not give the players any idea of what will occur in this exercise or the effect of it will be spoiled the feeling that should be instilled I1is1 s that felt when the prophet was martyredmartyred this feeling should carry over into the martyrdom scene see pages 525352 53 of the script side coach may expand the incident description as that given iis1 s only a sketch more sensory detail should be added the side coach should give enough time for the 229 players to fully experience the emotions caused by the mental images

3 sports see no 11 of february 1 19781978. notes all players join in the games of baseball football golf basketball and soccer A gallery is present on the green for golf but in the other sports baskets soccer goals and score- boards are built by the bodies of the cast members these may be improvised by the cast or the ones mentioned in the script may be used

4 script description

parts were assigned for the sports section see pages 79- 96 of script and sequences were ad libbedbibbed as if in a playground setting freezes were also used quick switches from one sport into another were also practiced and the martyrdom sequence

pages 525352 53 of the script was rehearsed the mob must be sensitive to when to stop their accusations so they can freeze instantaneouslyinstantaneouslyand and the word shot said by the narrators can be heard

side coaching A feeling of loss must be felt as women turn on joseph men must also feel it as they say goneone have you lost a son or a brother was he a personal friend did you feel he would 230 never die As you turn toward brigham be sensitivesens ietive so you turn together look at him in the eye and hail your new leader brigham

thursday march 2 1978 7107 10 pm 1 stretch warmwarmupsups preparation none

focus stretching the muscles of onesone body

description all players stand with space to move around them and follow the instructions of the side coach

side coaching stretch your arms and hands as high as you can toward the ceiling stretch drop down bending from the waist and touch your hands to the floor now come up straightening one vertebra at a time stretch up now go down lowering one vertebra at a time jump as high as you can keep to rhythm evaluation notice the movement as they come up one vertebra at a time 231 notes

other exercises may be used to help to limber up the players rhythm can be used also the amount of varnwarmupwarm up depends on each individual group and must be determined by the side coach

2 desert warmupwarmwerm yzup preparation martyrdom warmupwarm up

focus listening to idesides coach and visualivisualsvisualizingzing the event described

description all players lie down on their backs and visualize in their minds that which is described by the side coach

side coaching you are driving through the desert in your car with a mcdonaldmcdonalds hamburger on the seat next to you the radio is on and it is llolio1101100 outside but the air conditioning keeps you cool and comfortable suddenly you notice the red light go on indicating overheating in your engine smoke begins to pour out from under the hood zouyoulouzoumou pull over to the side open your window and feel the hot air hit you in your face you cantcant fix the car and you are thirty miles from any town no one is around you smell the uneaten hamburger feel the perspiration around your neckneekraeck gradually beads of perspiration form on your temples and begin to run down your face you return to the car and try to 232 sleep hoping someone will see the car and stop finally you sleep for just a few minutes and then wake up again the only thing to do is to go for help you get out and begin to walk the simsun beats down on your bare head you are tired already from the long drive but the heat drains all energy from your body finally you see a gas station sign in the distance you keep walking and walking and walking you feel faint but know you catcant stop it seems you are getting no closer to the sign

evaluation none

notes this is done in preparation for the desert scene in the mormon battalion sequence see pages 566056 60 of script the side coaching may be varied but must be given slowly enough to give the players time to completely visualize the situation other sensory adjectives should be used to give a greater effect in the minds of the listeners

3 machine see no 2 of appendix C notes allow the players to make any kind of machine they desire and then have them change to a machine with interlocking parts players should then create a machine that will produce smiles they should be able to create almost anything because of all the preparation they have had throw this one open to their creativity 233 4 serscript worked on scriscriptpt from josephjosephs martyrdom see pages 525352 53 of script through the tabernaclethetabernacle choir see page 66 of script this included the building of the tabernacle organ the director may either use what was done in the original production see appendix I1 figure liii1112112.2 or allow his cast to construct their own organ again it must be emphasized that carcaree must be taken in the martyrdom scene to help the actors feel the emotions from within so that they will come across genuinely to the audience otherwise a melodramatic effecteffactect could occur

friday march 3 1978 7001030700 1030 pm

1 isolation and coordination warmupswarmwa uheubeupss preparation none focus isolating various parts of the body and controlling them description players stand facing the side coach players bend forward from the waist and bounce twice on count of one they then bounce twice to the right on two backwards on three and to the left four now they change the direction to counterclockwisecounter clockwise and repeat the exercise 234

the shoulders are then put forward twice on count of one to the middle twice on the count of two and back twice on the count of three the shoulders can then bedonebe done individually the head exercise is done like the one described for the waist

see second warmupwarm up in no 1 of march 1 1978 all players run around stage area careful not to bundbuindbump into anyone

2 script description worked through script from the opening of the show to the

teeter tottering championship of the world pages 1961 96 of script this included the development of the statues the building of ab jenkinss race car and work on the sports section from this point it will be assumed that any structures built with the cast membersnenmemberstnemmembersT bodies can be altered to fit the needs of each individual cast

3 sharlyesharing ideas description

dr harold R oaks the director told the cast about the importance of theatre in the church the time will come when wards and stakes will do entertainment for children and use theatre as a tool for teaching instead of just a recreational activity if this production is successful it will lay the ground work for educational theatre in the church we are the pioneers all who 235 produce this show are involved in the beginnings of using theatre to build pride in our youth for being members of the church and having the heritage given by such great men and women there has never befbeabeforeore been a show of this kind we are blazing a path that cannot be done anywhere else if anything is done in the church in the arts it will happen here at BYU first we need to rely on the lord to help us make this show what it can be such encouragement can also be given to anyone who produces this show and others like it we are all pioneers and must join our efforts together to help iin1 n preparing our youth for the challenges ahead

satursaturdaydwy march 4 1978 9 am 2 pm 1 stickstiek charades preparation charalescharadesCharades johnny johnny butcher boy focus quickly conveying an idea through drawing pictures description each player or couple as desired chooses a category and lists ten items within it categories can be flowers seashore cars horses cattle etc players are divided into two teams the side coach collects the papers and calls out the first category the person who made up this list and one representative from the opposite team are shown the ffirst item A from the list 236

no talking is permitted they run back to their own teams and

draw figures on a paper trying to portray A no words or letters can be written when someone on the team guesses the representative runs back to look at second item B this routine is continued the first teamtoteameoteanteam to guess all the items wins that round and receives one point the remaining lists are used and the team with the most points wins

side coaching none

evaluation and notes none

2 coordination wamuswamwarnwarmupswarm usups see no 1 of march 1 19781978. 3 stretcstretestretchh warmupswawarmrm ups see no 1 of march 2 19781978. 4 script description the cast worked on the same section of the script as on march 353 1978 problem arareaseasaas designated by the director were polished music was also rehearsed

tuesday march 7 197819785 6116 11 pm 1 fill up vithwiwithth sand see no 7 of february 2 19781978. notes other warmupswarm ups can be substituted suggestions are found in the additional references given at the end of this appendix 237 2 Ffightingiahtzhtia preparation

follow the follower guess who Is leading

focus reactreactinging sensitively to a partner so that a smooth fight scene can result

description players choose a partner in slow motion they stage a fight the side coach designates who should dominate when the side coach designates the other player dominates

side coaching react as if you are hit how do you feel Is your nose bleeding does your face burn have you lost your breath keep the movement sustained

evaluation note the reaction as the players are hit are they sensitive to one another in their reactions

notes

there are no ffightsi1 ghtsgats Iin11 n the script but the sensitivity required by this exercise is needed by the actors in reacting as a unit during the production 238

3 stage pictures see no 3 of february 28 19781978. notes divide players into groups of four or five give each group a space and have them create their own picture players

I1 then guess what each groups picture isI1 S

4 C rowdbowdcrowd scene motivation endand stage pictures preparation acting Is doing emotional orchestra script february 16

19781978. focus usingUs ing a motivation to get from one crowd scene to another description go into first crowd scene from josephs line and I1 told my friends see page 25 of script freezeFreezeweeze on cue from the side coach and form a stage picture during the freeze players solidify the new character for the next scene think of a specific reason to go to the country store and walk on cue to stage right with that purpose in mind in the new character freeze on cue from side coach as second crowd scene lines begin see page 26 of script again solidify new character for town meeting and create a reason to go see side coaching for third crowd scene in script for february 16 19781978. unfreeze walk to center stage freeze during lines and repeat sequence for fourth crowd scene 239 side coaching during freeze check your spspacingacing does your stage picture have different levels Is there too much negative space in one place does your stage picture have energy evaluation note iif players are aware of each other as they form the picture in the freeze Is their purpose for moving to the next location evident or are thetheythetT just walking there notes the purpose for the freezes is to give the players a chance to reevaluatereevaluatecuate their position in the group A stage picture is constantly formed on the stage whether movement exists or not and the actors must be consistently aware of the balance and picture they give to the audience the side coach should give the players an opportunity to readjust or shift their frozen picture if it is needed

5 scriptseri t description the building of the tabernacle organ through the worldworlds record teeter tottering see pages 6469664966 96 of scscriptaptipt was rehearsed

6 choreachoreographychoreozraphygraphy rehearsal description choreography for whatswhat a mormon ever done and nauvoo was rehearsed see appendix L entries 1 and 22. 240

wednesday march 8 1978 7001030700 1030 pm 1 jfelkualknaikwalk variance warmupwarm up preparation space walk focus varying walks determined by the character being portrayed description players walk as various characters mentioned by the side coach eyes should be half closed open only enough so players can see where they are goinggo 1i ng side coaching walk like a twelve year old in tennis shoes feel the bounce to those shoes are they P F flyers ateareaxe you proud of them walk like royalty of the l890s18910s how do your clothes feel are you over many servants walk like14akelke royalty today walk like you evaluation note how the walks changed notes other side coaching or different people to portray can hebe used this helps players realize that every character must have a different posture andwalkand walkwaik differently this exercise can also be varied by having the players choose partners they then walk across the floor one player walking like the other the remaining players guess whoswho copying whom 241

2 bcrscrscript description rehearsed all of script to the mormons in congress section see page 100 of script this included the choreography side coaching make stage pictures when you freeze be aware of the negative space defdefinei1 ne objectives for each character or a reason to be saying or doing what you are find a specific job to do in nauvoo plant trees 5 dig trenches etc make definite sounds for the steamboat and the water moved by the paddle wheel open the door the same way each time dotdont use ya or wow in the nauvoo and mormon battalion sequences but use language indicative of the period this word was not in their vocabulary the men are returning home after a long absence act like it protect your head as the golf ball goes into the gallery articulate your lines be aware of exactly where the soccer ball is at all times be constantly aware of the audiences on the sides no 17 must be the same french character each time

thursday march 9 1978 7117 11 pm

1 stretch warmwarmupsups see no 1 of march 2 19781978. notes different stretch warmupswarm ups than those designated can be used 242

2 clincling on preparation pass the body face exploration

focus attaching on contact and staying with the group

description players close eyes and walk around the room with hands in front of them when they touch someone they cling to them all continue to move and explore room

side coaching none evaluation none notes the purpose of this exercise was to reestablish trust within the group

3 music rehearsal whatswhat a mormon ever done nauvoo battle hymn of the republic and come come ye saints 243

4 scriptser description bunrunrum through script to the mormons in congress section see page 100 of script and developed the scenes through the hospital section see page 109 of script

friday march 10 1978 tii7117 ll11 pm 1 script line run through to the television section see page 110 of script

description cast gave lines as quickly as possible with no expression the purpose of this was to sharpen the ability of the cast to pickI1 up cues quickly

side coaching this was a prerequisiteprerequesite to runningcunning through the show so the cast would be aware of what to do to improve look at the nauvoo soloist as he sings sit hard when you sit in the choreography for whatswhateswhales a mormon ever done make a good stage picture with the crowd scenes talk to the audience walk softly on the platform when you are given notes listen and put them into practice feel the rain and mud all over in the parley P pratt scene see page 30 of script when run up to jonathan browning talk softly so he can speak over you move on your cues on elections move to the fourth crowd scene build up commotion 244 to the word shot see page 52 of script move on lion of the lord to build wagon see page 545 of script frenchman must have a twinkle in his eye every time he kisses someone so the audience knows it is a joke move to sculptures on Morcormonsmormonsmons were sculptors too see page 69 of script secretaries freeze on latter day saints see page 77 of script women must talk to the whole audience in the womenwomens convention see page 96 of script description run through the script to television section see page 110 of script the side coaching above should be put into practice of course the coaching given will depend on the cast but what was given above are those items of which the cast and director should be aware the john Q public sequence was developed see pages lib114125114 125 of script

saturday march 11 1978 9 am 7 pm

1 script description the television section pages 110114110 114 of script wavesweswass developed by assigning several groups the acts portrayed in this sequence donny and marie the king sisters alvino ray the lettermen johnny carson etc they worked up the songs music etc to be used this would not be necessary for another cast to do unless additional parts were added to the script however the director may desire to develop the sequence in a different 245 manner to fit the ability of his own cast in this situation the above exercise may be usefuluseftiluiluth

I1 the rest of the script was developed

2 him up 1 lightdight preparation emotional organism emotional orchestra script work

focus giving all of onesone energy to another person to keep him functioning

description all players squeeze closely together as if hugging each other this is referred to as a group hug one player A is designated by the side coach and moves to the center of a circle consisting of the rest of the players the players invent any motion or sound to convey energy to the player in the center if A does not recereceivelve enough energy he will die he can thus begin to wilt ifheifichehe doestdoesnt feel he is receiving enough strength from the other players

side coaching show energy in your legs hands face etc give it from your eyes ears mouth every limb of your body must be filled to bursting so you can give it away 246 evaluation note if ayersTplayersplplayerst bodies are flabby in any way if so mention that part of the body in the side coaching Is all of the playerplayersplayersfsfI1 ffocusocus on A

notes the players lacked enthusiasm or sell for the show this exercise was created to help them to focus on one object A and give him all the energy they could create during a show the person talking must be a focal point for the cast or the audienaudienceaudiencesaudiencelscels attention will waver of course this depends on the importance of the dialoguebeingdialogue being given the cast must be very aware at all times of the action and add instead of detract from its purpose

3 run and freeze seesee no 6 of appendix C notes vary to walk walk freeze after each freeze players become a different kind of mormon doctor nurse construction worker inventor etc side coach can either call these out or allow players to vary it themselves this iis1 s to expand the casscastseasts ability to be different people side coach can use words

such as freeze I1 change for cues side coaching should consist of ways to help players be a new entity how would this person walk what kind of clothes would he wear and so forth see side coaching for crowd scenes inscriptin script for february 16

19781978. 247

4 emotion with bodies preparation

emotional orchestra light him upU emotional organism

focus centering an emotion within oneself and then show it through onetsoneconets body

description players hold hands in a circle walk around until side coach gives an emotion freeze on cue in a position that portrays the emotion to another player on cue unfreeze go to an imaginary audience member and freeze in a position portraying the emotion to him the side coach must cue each action such emotions as anger surprise love and fear can be used

side coaching feel it from inside give it tell me from your eyes lips nose legs arms tell me evaluation observe how much of the emotion is obviously visible notes if one person istisnt reallyxeallyeailyreally giving the emotion and showing how he feels help him through side coaching emotions with which the players are having trouble should be practiced in this activity 248

5 script run through the show from beginning to the end

6 costumes and musicmusie description the costumers fit the company in the costumes and the music was rehearsed

7 scriseriscriptat2t description run through from beginning to end side coaching freeze during dallin oakssoaks conversation with his wife dallin oaks should not make the getting to the phones look hard it iisf s hard enough as it is the lettermen sing into one it nikemikemike1111 have something happening center front during nauvoo 1 know your wheres for the crowd scenes As youre building the wagon give your lines to the audience the goals in soccer are not always on the ground be in a huddled group and then move into a line across backstage for four hundred million dollar a year corporationcorporationffff

monday march 13 1978 8301030830 1030 pm 1 scriptser t description line run through whesheiewheiere lines were said as quickly as possible 249 tuesday march lb14 197819785 9001030900 1030 pm 1 roll the head warwarnwarm up preparation isolation and coordination warm ups fill up with sand focus relaxing the neck completely description players relax their necks and roll their heads around side coaching let your head fall forward as far as possible without bending your back move it slowly so it feels like a bowling ball being rolled around evaluation none notes this is done primarily to relax the body and may be combined with other isolation exercises if the ayersTplayersplplayerst bodies are relaxedtheirrelaxed their concentration will increase and much more progress will be made during rehearsal

2 choreographychore2zraphy rehearsal description choreography for whats a mormon ever donedoneadone9 and nauvoo ll were rehearsed see appendix L entries 1 and 22. 250

3 machine and switch preparation part of the whole be build and switch machine focus quickly switching from one activity to another with a high degree of concentration and creativity description players gather into one group on the top platform on the signal goG o from the side coach the players divide themselves into three groups and each group makes a machine the side coach then says switch and they make a different machine this can be repeated as many times as the side coach sees fit side coaching quickly concentrate evaluation note ayersTplayersplplayerst quickness to respond when machines are changed how spontaneous were they in fortforiformingfoytming the three groups notes the group should be sensitive enough to create spontaneously with detail and energy constant discovery must exist in the show the cast should find new ways to pantomime with detail and to make their environment real to the audience the director should push them to find llewriewnew discoveries each night of derperformanceper formandormanc e 251

4 bcrscrscript description

the john Q public sequenceequence see pages 117125117 125 of script was rehearsed and then the complete show was run side coaching the concentration was down so you lost the detail the mormon battalion must really see the ocean and have the satisfaction of making it there I1 the camera must be set up for the photographer while the kids are getting ready for the picture know exactly who your character is each time t what idiosyncraciesidiosyncrasies does he have what does he thinkaboutthink about politics how does he feel about his invention etc wings on airplane must be straight you need energy inim the stage pictures feel excitement as yoreyoure building the temple this isJLs the house of the lord make sure the home entertainment for nauvoo faces the three sides of the audience william clayton must get a crick in his neck as he watches the wagon wheel turn dotdont give your lines to the floor secretaries look out to audience not at the floor

wednesday march 15 1978 7001030700 1030 pm dress rehearsal 1 bcrscrscript description complete run through the finale and curtain call choreography was taught see appendix L entry 33. 252 side coaching mormon battalion must tell their wives their accomplishments keep lines of the presidents of universities tight and quick shoot out your energy in the polka the energy was good on the opening but needs to be carried throughout the show have a new character each time for crowd scene make each person come alive need energy and commitment remember nauvoo was built according to the lordslorddord direction and is the foundation upon which everything is built make sure the buildings are built quickly and quietly so that the show never lags listen to each other and then react remember philo T farnsworth the dissector tube for the television is between one and two feet long so pantomime it that way As the bricklayers are building the wall they lay individual bricks letsletseesee it As sephisjosephisjocephisjosephJo is killed go through the images of his death in your mind remember the gun shots the blood flowing from his wounds etc

2 As sisignsignmentennenenmenznmennentmenten read doctrine and covenants 135 pray and gain a true understanding of the loss of the prophet

Aadditionaldditjonal references for warm u barker clare theatre games new york drama book specialists 1977 crawford jerry L and snyder joan actiaatiactingne in person and in style dubuque iowa williamc brown co 1976 see particularly chapters 161 6 hogen ufauta rerespectt for actineacting new york macmillan 1973 253 Stanislavsstanislavskild constantin an actor prprepareseparesegares translated by elizabeth reynolds hapgood new york theatre art books 1936 spolin viola lmhimproylslnprovisationImproelsroyisroyls at ionlon forfore the theatre evanston illinois northwestern university press 1963 theatretheacrethea creore game fileflie st louis missouri cernel 1975 APPEKDIXAPPENDIX E performancepreperformancePRE armATOANDamm

WARMUPWAJRMUPWARMWAJRM UP activities

25254 APPENDIX E performancepreperformancePRE AND

WARMUPWARM UP activities

the original cast of mormon montage dressed in their costumes and makeupmake up would come to the theatre while it was still empty from thirty to fortyfiveforty five minutes before curtain time at this time the pianist and music director would conduct vocal warmupswarm ups and the musical numbers would be rehearsed as needed the opening of the show including whatswhat a mormon ever done was also practiced the director sometimes chose certain sequences that needed polishing and rehearsed them at this time before the audience began to assemble the actors retired to an isolated part of the building where the director conducted the following warmupwarm up activities these exercises follow the same format as used in appendixes C and D but no dates are given as the use of these activities is left to the directordirectorsdirectorls ls discretion most of these warmupswarm ups have been described previously in appendix D and are therefore listed by title with the reference following for additional warmupswarm ups see the categorical list of all activities in appendixes C D and E 1ini n appendix F or refer to additional refreferenceserenceserencen at the end of appendixap endixbendix D in referring to the participants the words ft actors and it players are used one music warmupwarm up is included as no 6 but only the description and notes are necessary to state the 255 256 activity at the end of each warm-warmupup session just prior to going on stage the actors squeezed close together giving everyone a it group hug the director then assigned the actors a sense hearing seeing touching smelling or tasting on which to concentrate during this particular show they were encouraged to findnewfind nexnew ways to express this sense through their actions this helped to keep the show new and exciting for the actors and aided to increase the improvisational possibilities for each derfperformancemancemaneeorarmanceormance for definitions of preparation focus description it side coaching evaluation and notes see the introduction to appendix C

1 johnny johnny butcher boy see no 9 of february 11 1978

in appendixappendixd D

2 guess choswhos the leader see no 4U of february 1 1978 in

appendix D

3 interdependentinterdependent seulseuisculpture see no 1 of february 16 197819781

in appendix D

4 hunbunrunpun and Ddodeedodge preparation none focus running quickly ffronfromrom point A to pointpo iI1 nt B but avoiding collision 257 description actors run around the stage in any direction being careful to avoid any impact with another the side coach then has players move their arms and continue running

side coaching

run quickly use every part of the stage I1 have a specific destination dontdon change direction unless you have to evaluation are people running into each other check to see if paths of travel are interrupted notes this exercise vaswas to help the actors move from one scene position to the next without collisions or nearmissesnear misses with actors and paraphernalia

5 follow the follower see no 2 of february 1 1-1978078 in

appendix D

6 musicmus ic warwarnwarmwarmupup description actors sing whatswhateswhales a mormon ever done in whispers as if telling a secret notes this can help the participants feel a new type of express- iveness as they sing the song 258

17 distenListenlisteninglistenlnedislisbeningLis beninebeningLne to the memories of0 f elementaryElementaa school preparation none focus listening and saying the words at the same time as another description

partners A and B are assigned wbeginsA begins to tell a story of an incident in his elementary school days stalksBtbtalksalks simultaneously with A side coaching listen carefully speak slowly pay attention to your dictiondict ionlon I1 evaluation

how well couldbarrcouldcouldbanfcicipateatswordsBarru icipatealswords did the actorsactorsyaccorsy ability increase as the exercise progressed notes the ability to listen is increased through this activity also a need to be sensitive to each partner iis1 s necessary so they can anticipate what is to be said this requires complete concentration and will hellheilheiihelpheip the actors be aware of others words and actions during the performance 259

8 focuspocusyocusocus on a arspnpersonerspn 1 preparation light him up

focus focusing on one person and instantly changing focus to another

description all actors sit on the floor in a circle the side coach designates one person A who begins to relate a scary or humorous incident in his life all participants give their fufullfuli11 attention to WA the side coach callsalisailscallscalisallaliail s another persons name B who then relates an event anakesatakesA takes all focus as he talks and then gives it to others as they begin to talk all actors change focus to beach person should be allowed to say only a few sentences however the side coach may allow them to continue longer if desired sometimes asareachesasA reaches a climax in his storybcan be designated to begin this process continues until all have had a chance to participate side coaching none evaluation note if the concentration of the group is completely switched from one person to the other 260 notes

it may be desired to change quickly from A to B to allow the actors to focus to different people within a short time period this is done to help the participants become aware that their focus in the show will determine to a large extent what part of the stage the audience watches each actor must be sensitive at all times so he can direct the audiences attention to the focal point of each particular sequence

9 circle storzstoryS preparation none focus continuing a story from the story line given by another person description all players sit in a circle A designated by the side coach begins a story he says severaseveral lines and ends in the middle of a sentence and looks to person on his left B to continue the actors should use set up phrases from which the next person can begin his story for instance phrases such as then he said or all of a sudden he saw a can be used each successive participant should not repeat any words previously spoken the story progresses around the circle until the last person brings all the component parts of the story together and ends it 261 side coaching none

evaluation note how quickly the players pick up the set ups and continue the story notes this can be varied by having the side coach tap players on the head when they are to pick up the story line the purpose in this exercise is to develop better listening and help the actors become more sensitive to one another so they can better react to unrehearsed ad libs within the shows context and pick up cues

10ioeloe100 negative seacespace see no 1 of february 22 197 J in appendixappendixd D APPENDIX F A categorical INDEX TO THE activities

C IN APPENDappendixesXESTXEST 5 D AND E

262 APPEMIXAPPENDIX F A categorical indekIKDEXINDYK TO THE activities

INCT appendixesAPPENDIXES C D aydAUBAND E

introduction this index will assist the director in tailoring the re- hearsalshearsals to the needs of his own cast the exercises used in appendixes C D and E are listed in alphabetical order under the area of the purpose for which they were designed all the exercises are listed under one or more categories additional definitions of the exercises occasionally appear in parentheses following the title to help in identification only the page number of the first mention of the activity is given unless a particular variation is applicable to a certain category in this case the date of the variation is recorded after the title of the exercise under warm ups calisthenics is listed however no page number follows as there is no speciapecispecificifieefie exercise mentioned in the appendixes this is recorded as a general suggestion the director may also find it useful to check the notes given when the exercise is repeated in appendixes C D or E the purposes of the activities contained within each category follow body awarenesstoawareness to help the players become more aware of the possibilities they can use in creating with their bodies concentrationconcentrationto to aid in increasing concentration 263 264

emotions to become more aware of various emotions and how to express them relaxationtorelaxation to help the player to completely relax these can also be used for varnwarnwarm udsunsups script development to aid the director in developing various sections of the script through improvisation sensestosenses to increase the senses of touch smell taste sight and hearing sensitivity to otherstoothers to increase the ability of being sensitive to and relating with others theatre skillstoskills to aid the players in developing their theatre skills in such areas as reacting to each other creating dialogue pantomime skills focus stage pictures etc trusttotrust to increase the trust of one player for another in rehearsal and performance unitytounity to increase the feeling of unification of purpose within the cast

warmupstowarnwarmupswarm udsups to prepare the players for the exercises needed in further develomezdeveldevelopmentomeromez t

index category page

bodybody awareness build a structure 187 concrete sculpture 190

coordination warmupswarm ups 0.0 226 265 category page

emotion with bodies 0 0 0 if 0 0 0 247

fighting 0 0 0 0 0 0 f 0 0 0 237 interdeinterdependenttendentoendent sculpture 207 isolation and coordination warmupswarm ups 233 negative space 215 run and freeze 142742 stretch warmupswarmwa M ups 230

tug ol01 war 167 walk variance warmupwarm up 240

concentration blind sculpture 172 conversation concentration 173 coordination warnwarmupswarm ups 226 desert warmupwarm up 231

11 1pap 3 drawing in 0 131431 environment warmupwarm up 223 fill up with sand 171 focus on a person 259 gibberish 221

hum your own tune andanacandband join it to another 4vav 0 9 0 219 listening to the memories of elementary school 258 martyrdom warmupwarm up 227 pass the body 165

relaxation with light a P a P D e 4 203 266 category page emotions audience reactions 177 crisis settings 0 9 0 4 0 0 41 0 10 0 0 0 0 9 lubluuibb144 emotion and dialogue development 197 emotional orchestra 0 a 0 0 0 0 1 0 168 emotional organism 158 emotional train 162 emotion with bodiebodlebodies 0 10 0 0 0 0 0 0 11 9 0 ab1b 247 environment warmupwarm up 223 escape from a concentration camp 181 library 187 martyrdom warmupwarm up 227 run and freeze see no 4 of february 11 1978 197 shades of emotion 214 relaxation breathe and relax 213 drawing in 143 fill up with sand 171 ha ha 160160igo relaxation and manipulation 9 189 relaxation with light 0 203 roll the head warmupwarm up f 0 0 249 267 category page script developmentDevelament audience reactions 177

beauty shop 20204

be build and switch 192 build a structure 187 charades 212

concrete sculpture 190 crowd scene motivation and stage pictures 238

dragon 175

emotion and dialogue Develondevelopmentment 197 jazz band 169 johnny johnny butcher boy 201 making products or working with objects 200 go neighborhood gang cart race 0 0 0 0 0 0 0 0 41 164 neutral to mobster 199 sports 163 statue fun 217 television talk show 0 170 who reacting to where 179

senses blind sculpture 172 camping 0 6 0 9 0 0 176 cling on 242 desert warmupwarm up 231 154 electricity 0 1 268 category page environment warmupwarm uupp 223 escape from a concentration camp 181 face explorationex-ploration 158 fill up with sand 171 glass capsule 0 6 0 Is 0 0 0 0 0 0 0 0 0 it 0 135 making products or working with objects 0 0 200 react to an environment 178 run 0 0 0 0 139 run and dodge 0 0 0 256 sardines 4 0 4 0 & 0 6 0 6 A 0 191 space walk 0 0 iboluoiko140 trusting a partner 0 0 0 1941914 sensitivitysensi tteitzteltz tot0 others action continuation 182 blind sculpture 0 0 0 a 0 0 0 0 41 0 0 0 19 a 0 0.0 0 0172172 cling on 0 0 0 242 electricity 0 0 151154 face exploration 0 0 0 158 fighting 0 237 focus on a person 0 0 259 follow the follower mirror 0 155 gibberish 0 221 guess who0 is leading 0 157 hum your own tune and join it to another 219 269 category page interdependent sculpture 207 kaleidoscope 160 library 187 listening to the memories of elementary school 258 negative space 215 space walk iboluo140 stage pictures 224 theatre skills acting is doing 185 action continuation 182 audience reactions 177 beauty shop 204 be build and switch 192 be people or obaobjobjectsactsects 183 build a structure 187 camping 176 charades 212

concrete sculpture 0 4 0 0 0 0 0 190 crowd scene motivation and stage pictures 238 emotional orchestra 168 emotion and dialogdialoguedialoglietielietle development 197 emotion with bodies 247

fighting 0 0 9 0 0 0 0 0 1aaa 6 0 237 jazz band 169 270 category page johnny johnny butcher boy 201 library 187 making products or working with objects 200 neighborhood gang go cart race 164lgb neutral to mobster 197 reactL to an environment 178 stage pictures 224 stick charades 235 television talk show 170 tug 001I1 war 167

walk variance warmupwarm up 0 0 240 who reacting to where 0 179 who is there 146 trust face exploration 158 interdependent sciakscia1sculptureiturepture 0 0 207 pass the body 0 165 trusting a partner 0 19419 unity cling on 242 dragon 4 175 escape from a concentration camp 181 guess who is leading 0 & 0 t 0 0 157 hahalhai haeaihaihar 160160igo 271

category page

interdependent sculpture 20707

kaleidoscope 0 0 0 0 0 0 0 0 0 0 0 9 160igo

light him up 245345 machine 4 9 a e 9 136g machine and switch 25050 negative space 215jc part of a whole 137

sardines 0 it 0 4 0 0 0 9 4 9 0 0 0 0 191 stick charades 235 tug ot01 hexwarwacwaxwex b 0 167 warmupswarm ups calisthenics circle story 9 260360

ID cling on 0 it 40 0 22242 coordination warmupswarm ups 22626 drawing in 13143 fill up with sand 171 follow the foifollowerFollOWET mimirrorrroraror 155 guess who is leading 157 isolation and coordination warmupswarm ups 23333 kaleidoscope 160igo light him up 2452uau

1 0 0 0 9 machine 0 0 1 0 0 J 10 0 0 0 0 0 13136 music warmupwarm up 257 272 category page relaxation and manipulation 189 relaxation with light 0 0 10 9 0 16 Is 6 0 1 203

warm 0 0 0 A roll the head warmupup 0 0 0 0 4 4 a 29249 run and freeze 12142 stick charades 235 stretch warmupswarm ups 230 APPENDIX G EXAMPLE OF A bevRETIEWREVIEWREV lewIEW OF MORMON MONTAGE

273 APPENDIX G EXAMPLE OF A REVIEW OF MORMON MONTAGE

friday march 17 1978 the daily universe page 13 mormon greats nunotsonott so greats lauded inin amusing play Mmormonornonormon m0mamontageniagentage by JANE suthonsutsonSUITONSUTTON the production was performed in the round with didiversvers oral surgesurgeonsonsous and former vice presidents of and blatBLAIR HOWELL the audience seated on folding chairs on three sides several small and obscureol scureacure companies universe staff writers allowing each facial grimace by the cast members tato Eeachach cast member assurassunassumedned the role of many in answer to the often unasked musical question he easily seen the cast members also mingled with memomemorahlememorablerahleeahieeabie mormons and became these people whatwhats s A mormon ever done the sixteen cast the audience at times and conducted an informal adopting their mannerisms accents and chac membersmem bertsberks of last nights opening performance of survey to prove the educational superiority of itahutah risticsteristicste the cast contacontaineacontainedinea exceptionally bright mormon montage proceeded to reiterate the ac- DCperformerserfortners with a tall bushyhairedbushy haired blonde shining montare because of the close quarters and the excellent brightestcrightestCrighterfortners complishments 0of every LDS pepersonmn of note from vocal chords of the cast no microphones were hnbrightestest animigamong them she could have easily carried joseph smith to the two men who hold the world needed particularly during the mob scenes the production single handedly record for teetertoeter tottering originalitalitaivial lively the set lighting was unobtrusive and changed to the mumusicalacal4cal play performed on a simple papier the theme song was origi and setting accentuate each new scene the mood for thetiletlleille a111111amusing41fig production other musicc mache set of what appeared to be a large set of though anianiusingamusingusing thehe production is at times an Playsplayskoolkool multicolored building blockblocks also em- included favorite LDS hymns musical accompani- mormons mentt came frfromorn a piano harmonica and a flute ego trip for insecure and too often comes ployedployedaloyed members of the cast asan various inanimate ob- nilliniell across as braggartlybraggardly it gives the impression of try- jects includinfincluding ovens lumber mills steamboats and the story traces the history of the mormon people ing to defend a group of people who are not under at- thetaherntheThe abernahernernaclevernacleie ororganan most of the human structures frofrom joseph s first vision through their settlement in taltai ill111 fromjoset tack were hummhumorous ailall were imaginative mjosetnauvoo ttheireirair move west and their establishment tiitilIII111in choreography was vigorous anel city went on to note each saint of overall it is enjoyable and informative though at the andantlanti enthusiastic salt lake it digging a to laudable though at times a bit cramped for the tiny margetts prominence and at times sounded like roll call for times seems to be bit deep find arena theatre stage the smoothness was somewhat tithing settlement the merits of many noteworthy lisilsIISLDS people hamhammeredhamperedered hby the muffled pitterpatterpitter patter of large feet athletes scholars politicians inventors enter- the play continues throthroughtighkigh saturday at 8 pm on ttethe wwoodenxx en floor and an occasional runinrun in with tainers andnd musicians were expounded along with and resresumesunies march 212521 25 283128 31 at 8 pm with a the blocks the capers of awardwinningaward winning cheerleaders high eliailkamatineeeyia tinee performance march 27 at 430 pm APPENDIX H PROGRAM FOR MORMON MONTAGE

275 APPENDIXAPPEI X H PROGRAM FOR MORMON MONTAGE the BrighabrighamyoungbrighammYoungyoung university department of theatre and cinematic arts presents thewhittlinthe whittlinWhittwhittlinglin whistonwhisthnwhistlinWhist linHn brigade in mrmi armi11 1 mowaibleMOWAiBlEIA

by willwi11iamiamlam W brigham directed by harold R oaks march 161816 18 212521 25 283128 31 at 800 pm matineemat inee performance march 27 at 430 pm in the phil lip1 ip N margettsma rhettsrgetts arena theatre see next page for back of program

276 APPENDIXAPPE DIX H PROPROGRAMjrAM FOR MORMON MONTAGE

CAST productionPRODUCT I1 ONI1 s1sastahSTAFAFF

mckay stirland director harold R oaks

kathleen swift technical director 0.0 lee walker

david L nelson ticket office manager colleen bird

richard haines music director john G sutton I1ililiiIII111II11 steven adamson set and lighting designer janell bemis

cheryl mccleery stage manager robert D bigelow kris barelemareleniarele morgan assistants to the director teresa ann dayley kris barelemarele morgan david C bradbury publicity john dale williams lisa lynn kirkwood publicity photographer susan eiffler alan david walker assistant technical director richard foote jette halladay costume designer debora tholen jay L lower costumer joann schutz robin leigh starkey pianist kristen isonlsonI1 son martin hoiholholmanman flautist cheryl mccleery elleneilenelienLI ientenI1 maldamaidamd idalda berrberrybernyberyy leslielesileles s e winebrenner

beesee ee next I1nagepage for back of program 276 277

di rectors note it is impossible in a short production to include all latterlatterdayday saints who have made significant contributions we do hope you will agree with us that those included demonstrate a wide range of effort and give a feeling of the recognition that has been given to mormons of achievement

we have enjoyed preparingpreapreoparing this production we hope you will enjoy it too thank you for joining us

OTHER PLAYS COMING SOON travesties by tom stoppard directed by tad Z oaniPanidanielewskipanl elewski march 232523 25 and 2331293129 3311 at 800 pm in the nelkeneike perimexperimentalexperimEx ntalantal theatre

TENA A new musical play by charles W whitman based on the novel papa married a mormon by JD fitzgerald directed by charles metten march 30 31 april 484 8 111511 15 at 800d 00 pm matinee performance april 10 at 430 pm in the pardoe drama theatre APPENDIXAPPEMDIX I1 photographs OF complicatediMPLICATEDCO structures

278 T TT PI1 H T APPEIIDIXPPE D 7xax I1L photographsIC LOGRAPHS OF

Ccomplicated0TMT LICATEY structures

these pictures are rangedarrangedax in the order of their ap-

1 pearancepearance in the script explantexplanationsexplana lonslon ionionsS are given when needed to

wa aid the director in building these structures w4withth his own cascastQ the page number of the script where each figure occurs is also mentioned if the structure has a propergroper title it is capitalized and underlined as with the steamboats figures 3 and 4 and the statues figures 13 through IT17 itif variations from the desired effect occur in the photosphotogphotographsraphs the exexplanationdianation informs the director what to do to correct theche misrerresentationsmisrepresentations characters

within the structures are referred to according toteoitoleo the gender of the person being portrayed

279r 71 9 280

1 sawmillsawmill see page 33 of script two persons carry a third horizontal actor log over the saw person lying on her back rotating the open painspalms of her hands in a circular motion andardd making a buzzing sound

2 wcodstovewoodst ove see page 35 of scriptscrips standing person represents the shelfsheif abovealbove the stove kneeling actor represents the furnace or deilyheliyheilysellybelly of the stove 281

3 the nauvconauvoonauyco steamboatksteamboat see page 393 of script note the steering wheel kneeling behind the standing passenger the citizen of quincy

4 thelfaidThelthe laidfaidmaidmald of iovalovaiowa steamboat see page 39 of script actoractaccoror on the side of the boat rotates arms like a windmill representing a paddlepaddiepadalepaddlewheelwheel 282

5 train for melodrama see page ul41 of script third and fourth aciaeiac dorscors from right join hands and move ariasarnsarmsarras backhack and forth while making the chugging sound of a train fifth standing person from right toots whistle the couple in the background out of focus are the villain and heroine the couple although only one person is seen squatting in front of the train are the cowguardcowguard and the actor squatting behind thenthemtherathena moves his arm back and forth representing the moving bar on the wheels of a train

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6 Julisjullettejuliettejuniettette balcony see page 45U of scriptscrips the actoractorss on each side of the balcony represent gaagazgargoylesrgoyles others kneel in front with their fingers in the air to form the railing for juliettes balcony juliette sits on the blocks behind the railing speaking to romeo kneeling below while others form an audience the prompter is on the far right side facing the audience positioning his hand as if holding a script from which to prompt 283

7 narrators against temple see page 52 of script narrator pushed against theche blocks that represent the temple tells of joseohljosephljosephss death over threats of the crowd there should be three narrators as required in the script where the one is standing

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8 wagon and oxen see page 545 of script leveralseveral of cast ride on the wagon including diantha clayton who sits on the front seat holding a baby william clayton walks in place on the right counting the turns of the wheel of the wagon see page 55 of script all of cast walk in place including the oxen on front of the wagon the yoke for the oxen is formed by a castcastmembermember leaning stiffly forward with her feet on the bottom platform and leaning on the necks of the oxen the cast should show the cold and hostile weather the saints endured as the actor on the left is doing 264284

9 yahoo stage picture see page 599 of script

10 crowded meeting see page 63 of script henry grow stands 285

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11 tabernacle organ see page 664 of scriscriptot hotenote the two men in the center forming the keyboards with their hands john mcclellan on left looks behind organ

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12 bleysnibleysMi piano see zagepageoage 67 of script nibley sits at the piano james mason on theche right who had been nibleyshibleys page turner steps out to speak 286

13 seagull Montmonumentment see page 70 of script

14 hyrum and joseph see page 70 of script 287

15 this is the place monument see pagepagge 70 of script I1

16 tragedy of hintewintewinter quarters geeeeesee page 70 of script 288

17 mt rushmoreRushzorenoremore see page 71 of script note crossed eyes of right actor each person must know who they represent left to rightc3ca washington jefferson theodore roosevelt and lincoln

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18 soccer goal see page 88 of script 289

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19 ab jenkins race car side view see page 89 of script the second actorfromactor fronfrom the left in the foreground makes a it chair for ab jenkins a woman by joining hands with another actor ab jenkins places his feet over the inside arms of those forming the frontoffrontonfront of the car see below the cast member forming the back fin of the car holds onto the costumes of the men in front of her as the car races around the stage

20 ab jenki7lsjenkifjenkieJengenkiFkis race car front view see page 89 of script 29090

21 keith russell see dagepaseoagepage 994 of script arms of keith russel should be out to the side as he pretpre- pares to dive and glares down at the audience he dustmust jump up in the air andthenaniand then coneeonecome down the audience member in the middle front row should feel as if he will land on him

22 gail halvorsens plane landed see tagepage 99 of script gail halvorsen is standing on the left make sure that all the propellers on the front of tlethe plane are the same 291

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23 gail halvorsens plane taking off see page 100 of script hands of those forming the propellers are blurred as they are in motion those serving as the propellers also make the sounds of the engines including the sputtering as they start and stodstonstop gail halvorsen is in the center of the top platform panto miming holding the pilots control wheel the plane is in the action of dipping its wings to the left

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24 reed snootssmoots desk see page 100 of scrittescrittscriptscriTt secretaries are sitting in the foreground reed snootsmoot on a with four cast members forming his desk no ib16 sits block wih N has just brought him the paper to sign see pageoagedageoagelollolloiiol101 of script 292

25 diamond pressure machine hands up see page 107 of script tracyT acy hall places his hand holding the dladiamonddiadiamondmondmoad into the machine and the cast makes a sahhshhh sound as they lower their hands 293

26 diamond pressure machine see page 107 of script the pressure gauge man on the top block rotates his arms horizontally as the pressure is applied tracy hall in foreground with his backhack to the audience puts diamond into the machine

27 diamond pressure machine hands down see page 107 of script kotenote expressions of tension on faces as pressure is applied to the diamond tracy hall is on far right so the machine can be seen 294

28 dinosaur see page 107 of script

james jensen and hono 9 aeare in foreground one woman is facing the audience see right top with handhandss out and growling as a dinosaur her face is dark she is supported on the shoulders of a man with his back to the audience those on his left and right help to support him and reach their hands toward the audience representing the additional arms or legs of the creature other cast members form the rest of the body the long tail of the dinosaur seen on left across back of stage is formed by each successive person crouching closer to the floor 295

29 hospital see page 108 of script note the extention of the table on the left aadenademade by an actor doctors and nurses stand around the datientdamientpatient while wayrewayne E quinton in foreground back to audience operates his artificial kidneyshuntkidney shunt dystesystesystemn see two women in white in foreground quinton puts the hand of the farthest one B onto the patient to hook it up he then pushes the woman A who is closest to the audience and she begins bobbing up and down which motion is picked up by B 296

30 johnscarjohnsJohn sCarsoarcar before accident see page 124 of script holenolenote animated faces of the car headlights the inside hands of the headlights could also be used to form a hood orna- ment for the car faces should have the same expression the doors of the car sit directly behind the headlights facing the side audiences each of these two actors forms a door by raising each arm to a right angle when john gets into the car he opens and closes the door the wheels are curled up on both sides of the car john is in the center holding the steering wheel

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31 johns car after accident see page 124 of script note both the painedexpressionspained expressions on the faces of those forming the car and the right front wheel which has fallen off jane approaches john from the right to see if he is all right 297

32 sports vignette see paepage 125 of script

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33 entertainers vivignetteilet e see dagsnagsnagepage0 125 oiof script

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334 choirs vignette see page 125 of script

I1 i 4 35 mormon battalion vignette see page 125 of script 299

36 television vignette see ragepage 125 of script

37 diamonds vignette see page 125 of script 300

38 sculptors vignette see page 126 of script

39 dinosaurs vignette see page 126 of script note crossed eyes of man on top platform looking up at the dinosaur 701101j

400 doctors vignette see ragepage 126 of scridtscmidtscript

41 BYU see page 126 of script 302

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h 10 7 r 5 fl T T 6 T r 9 3 r 1 APPENDIX L choreography

336 APPENDIX L choreography

1 iflhatwhass a mormon ever done cast paces stage as if in deep thought

ALL whatwhatfwhaffI1 s a mormon ever done each castcase member changes direction of pacing and sings

ALL to help the human race cast members freeze facing a partner each holding an index finger in upright position as if pondering the question just asked in the song

ALL bhattwhattwhats s unfreeze continue pacing for the rest of line allailaliail sit on it place soloist moves to upstage 7 block area and leans against bblockbyock4 ock watching the action

ALL a mormon ever done to make the world a better place women rise on bavelgave3avel illilujump on tortodtop of blocks on thatsthat men run to partner and reach her on grow women have backs to men

WOMEN gave all they had to give

MEN thatsthat f s what made iemlemT em grow women fall backwards with raised arms into mesmensnesmene outstretched aimsarnsarms on give men catch women folding their arms around wowomerlswomenmerLS waists and swing them counter- clockwise putting them down or stream 337 338

ALL give said the little stream partners face each other begin clapping paddycakepaddycake pattern on thats

ALL thatthatsIs what made it so give said the little stream women crawl under partners legs on thats all sit at base of platform

ALL that I1 s what made it so soloist walks up platform steps to top singing solo while cast members watch men reach out for partnerspartners11 hands on lords and help them rise men hold womens wrists and lift and turn their partners so the womens right leesleaslegs stand on bottom platform and left legs are bent and resting on the top platformdiatolat form on fruits women are facing men

SOLO theres a sayin that I1 learned very very long ago that the lords chosen people by their fruits you would know men snap out their left hands for partner on it great 11 women gently place right hands palms down into partnerpartnersI1 s 1lefteft on hand

ALL if its goodifgood if its great then heaven had a hand men help girls step down off platform on beat between and and I1 every partners take right hands facing each other and pull each other by with a jump soloist jumps down off platform to down stage center when partners jump past each other 339

ALL in helping it spread to each and every land nomenoomenwomenwomen freeze men stand erect with arms over heads palms facing lorforwardvardward

ALL whaswhats women stand erect with arms over heads palms facing forward men remain the same

ALL a women lean forward on left foot with lefleftt hand on lefleftt thigh and right hand on waist and pulse fforroror each beatheat men turn toward platf-olat formorm step up to lower piatrplatformorm on right footfoot when singing mo- montmonrmont11 put left foot next to right on it ever turn lefleftleyt and stedsteostep offoff platform on right foot on done men turn to left on pause before to is sung

ALL mormon ever done they step up to top piatrplatformorm in two steps up on right foot to lower platform on to and on left foot to upper platform on help turn to left on the human race face audience nearest to side of platform on which they are standing women swing right arms clockwise in windmill motion three times slapping right hip on help and human resting hand on waist on race

ALL to help the human race men raise right armacmarmsoverarms oversover heads palms out on whatss jump down on itaitstaita and pulspuispulsee with hands on thighs on mormon ever done to make the world a better place women put arms straight overhead on whattswhatwhasIs and swing arms counter- clockwise in windmill motion with 340

straightL arms on a bring left hand down to waist level and then clap right hand intoin 0 o left hand on 11 mormon11mormon it simultaneously skipping to right beginning on right foot skip two more times to right on I1 ever done keeping hands clasped women kickupkick up left leg to their right on to make and swing left leg in opposite direction pivoting on right leg to face stage left on the world a women place left leg behind right leg face center audience and z1aceplace left hand on right hip and right hand on top of left hand on better place

ALL whatss a mormon ever done to make the world a better olaceplace women swing right arm clockwise in windmill motion signallingsignalling men down from platform on had

WOMEN gave all they had to give men juadlumpjumplumsunsundsum p down from platformolat form to floor landing in front of dartzpartzpartnerlerier on thasthat I1 s what made lemtemI1 em grow

ALL MEN thasthats what made lemtemT em grow on give women jump on backs of men like riding piggy back holding hands in front as though holding the pole on a merry goroundgo round horse men put arms around womenwomens legs to help support them men go up and down by bending their knees like a horse on a merry go round one man pantomimes taking tickets from women give said the little stream thattthatss what made it so oo00o o give said the little stream women get down off backs of men on hereshere and cast take positionsDosit ionslons for joseph scene and freeze on it so here I1 s what made it so 341

2 NAUVOO

ALL unfreeze and as sing pantomime various specific jobs in building nauvoo some of cast build the nauvoo temple with the blocks others stroll and point out the beauty of the city nauvoo nauvoo were gonna work to build a dream come true nauvoo well do our job were gonna see it through nauvoo a task the lord commanded us to do nauvoo nauvoo a task the lord commanded us to do nauvoo well see a joyous happy age ensue nauvoo cast gathers together in rows on stage right of platfplantfplatformorm as if in a meeting they pantomime holding books as if singing in a meeting and face joseph who stands on lower platform facing center audience joseph acts as if conducting they have reached this position by the lord a city great and proud and free and true the lorddordT is our shepherd our shepherd is he and his grateful servants we ever will be joseph steps off platform and shakes hands of congregationC as they leave half of the congre- gation goes to stage right and the other half to stage left the lord willwillprotectprotect us protect us he will andwellraiseand wellweli raise unto him a temple on the hill couples and small groups again pantomime beautifying the city or strolling and pointing out the temple or the river as they admire this new city they have built nauvoo nauvoo a task the lord commanded us to do nauvoo well see a joyous happy age ensue nauvoo a city great and droudproud and free and true all freeze 342

3 FINALE WHASWHATS A MORMON EVER DONE

ALL song is sung in unison except vignettes which are spoken and land which is sung in parts on whatswhattswhateswhales cast snaps their heads up on a they run to audience and begin to shake their hands continue until second done whatfwhatswhaff s a mormon ever done to help the human race bhattwhattwhats s a mormon ever done each cast member runs to one of three designated parts of stage stage right stage left or center stage to make the world a better place various vignettes are shown on the three parts of the stage these are done very quickly one immediately following the other each group gets into position freezes then changes to next dositpositpositionllonlyonilon freezes etc theThe lines are said by a cast member in the vignette being shown vignette on stage right see appendix I1 figure 3232. sprotssproats vignette on stage lefleftt see appendix I1 figure 3313333. 1 entertainers vav4vignetteLg nette on center stage see appendix I1 figure 34134.133. choirs vignette on stage right see appendix I1 figure 3513535. 1 mormon battalion vignette on center stage see appendix I1 figure 36136.13636. television vignette on stage left see 11 1 diamonds appendix I figure 3713737. 343

vignette on stage right see appendix I1 figure 3838. freeze sculptors vignette on center stage see appendix I1 figure 3939. freeze dinosaurs vignette on stage left see 1 401UO appendix I 5 figure 40140.1hoi freeze doctors

ALL unfreeze and put hands straight up while staying in last position see appendix I1 figure ulbi4141. BYU

go to a designated place on stage next to last position for cross stedststepep explained belowlbehowlbelow J some of cast face each audience therettheres s a begin cross step cross left foot over right on sayin it right foot moves to right on that left foot moves to left on 1 IT learned right foot forward on 11 very cross left foot over right on second very continue cross slepstepskep4 in time with music sayinsayinisayinf that I1 learned very very long ago cross step continues on fruits left is crossed over right on tat1 you would right foot steps back on know left foot kicks up toward audience that the lordslorddord chosen people by their fruits you would know on if cast begins to move to designated places for end pose by great all are iini n position for end pose on land most of cast puts arms out while staying in end pose see appendix I1 figure 42142.1 on land which is sung in parts lights black out if its goodifgood if itsit great thenisheaven had a hand 344 in helping it to spread to each and every land four chords to begin music again cast rises in the dark from places and lines up facing three audiences full lighting on whatswhat cast is divided into three groups forroror exit these groups may be the same as the vignettes if desired groups are mingled together all do cross step again beginning on mormon kneel on left knee on human and right hand indicates pianist on race whatss a mormon ever done to helohelheihelpheipheldheid o the human race cast rises and continues cross step group number one bows on IT place and these individuals exit at exit closest to them they continue to sing from backstage whatss a mormon ever done to make the world a better claceplace cross step continues group number two bows on first give and exits group number three drow bows on arowCDgrow and exits cast finishes song from backstage lights diminish to indicate the end of the show then full lighting is given as audaaudiencelence exits gave all he had to give thatsthat T s what made lemtemT em grow give said the little stream thats what made it so o o give said the little stream here I1 s what made it so PPENDTXAPPENDIXzah M PUBLICITY FOR MORMON MONTAGE

3u534 5 APPENDIX M PUBLICITY FOBFOR MORMONTHORMON MONTAGE

THE BRIGHAM YOUNG university department of theatre and cinematic arts presents I1D

I1 I1r I1 hfonraeA 7

by william W brigham directed by harold R oaks

to be performed march 161316 13 212521 25 283128 31 at 300 pm matinee performance march 27 at 4309304310 pm in the philip N margetts arena theatre harris fine arts center tickets are now on sale at the byu theatre ticket office in the harris fine arts center fulltimefull time students faculty staff loo1001.00 senior alticlticitizenszens sisosisosl50si50 general admissionadaiadaladmi ss ionlon 2252252.25 for reservations and ticket information call 3755050 or BYU extension 3875

mormon montage stories and anecdotes of Morcormonsmormonsmons of achievement portrayed in a humorous touchingcouching and creative way

36346 APPENDIXAJPPippEND I1X N additional references FOR CONTINUED RESEARCH

347 eimeamAPPENDIXria N

additional referencesREFEREN ES FOR CONTINUED RESEARCH

books alder J cecil utahutah2h the storied domain chicago american historical society 1932 bitton davis guide to mormon diaries and autobiographiesautobiogr hies provo brigham young university press 1977 carter kate B ed heart throbs of the west 12 vols salt lake city daughters of the utah pioneers 1971947 clayton roberta flake pioneer men of arizona mesa npap 1969 crocheron augusta joyce women of deseret salt lake city J C graham 1884 daughters of the utah pioneers of beaver county monuments to courage a history of beaver county beaver county daughters of the utah pioneers of beaver county 1948 esshomEs shornshorm frank comp pioneers and prominent men of utah salt lake city western epics inc 1966 flake lawrence R mighty men of zion general authorities of the lastdastliast dispensation salt lake cityC Y karl D butter 1974197

Fanklinfranklinfrankiinfrankiln1 county seminary mormon trail blazers written and compiled by graduates of franklin county idaho seminar 1930 jenson andrew history of the scandinavian mission salt lake city deseret news press 1927 jenson andrew latterlatterdayday saint biographical encyclopedia A Ccompilationatlon ofbiograof biographicalphicalphihal sketches ofbf prominentbfprominent men and women in the churcchuocchurchhofof jesus christ of latterlatterdaydatter dyday saints 19001919001931900 19319 4 vols salt lake city the andrew jenson history co nibley preston stalwarts of mormonism salt lake city deseret book company 1954

348 349 sessions gene allred lattedattelatterdatterlatterdayr dazday jatpatriotsdat riots salt lake city deseret book company 1975 simmons ralph B utahs distinguished personalities A biogrbiogybiographi-hi cal director of imminentemminentebmminentEmmi nent contemporaneous metmen and women who arefaithfulare faithful builders and defenders of the state 2.2 193219331932 1933 saltsait lake city npap 1933 tullidge edward wheelcock life of Brigbrighamhalahainhaja young or utah and her founders new york npap 1871877 warrum noble ed utah since statehooda elsteisthisthistoricalorical and biographical 3 vols chicagoka S J clarke publishing co 1919 west emerson roy profiles of tthee presidents salt lake city deseret book company 1972 whitney orson F history of utah salt lake city george Q cannon 1904190igo

theses in art and desiendesignD adams roger james A followfollowuputup study of brigham young universituniversiauniversityUniversit graduates in art 195319621953 1962 provo brigham young university 1 5 andersen velon max arnold friberg artisttistaist his life his philosophy and his works proveprovo brigham young university 1970 bunnel maxedwinmax Edwinedwino A study of bert franklin larsen As artist and educator provo brigham young university 1962 conant william leeroy A study of the life of john hafen artist with an analysisanalyabalysis andcriticalviewand critical view ofhieofhi8of his work proveprovo brigham young university 1969 degraw monte B A study of r22rrepresentativeentativetentativeentative examdlesexamples of artworksartadt works fosteredfosteredbyFosteredbyby the mormon churchwithchurch with an analysis of the aesthetic value of these works provo Brigbrighamhainhajn young university 1959 macfarlane donald A an analysis of mahonri M young as a draftman proveprovo brigham young university 1969 svensenswensen albert john A study of the artistic philoscphilosophyELYeny of mahonri mackintosh young provo brigham young university 1971 350

younyoung yonemori shirley kazukokuzuko mahonri mackintosh I1 printmaker provo brighamBrighainhajahajn young university 1963

theses in political science becker adolf fritz the history of function of the office of attorney general with specspecialialemphasiemphasiss on the administration of vernon B romney provo brigham young university 1974 eyre richard melvin george romney in 1968 from frontfrontwinnerwinner to dropoutdrop out an analysis of cause proveprovo brigham young university 1969

C george romney michigan gubernatorial fuller richard 1 and the campaign 1962 I provo brighamBrighaiahainhaja young university 1969 hammond F melvin some political concepts of J reuben clark jr prprovoovo brighambrighambigham young university 1962 lowe jay R fred T dubois foe of the Morcormonsmormonsmons A study of the role of fred T bois in the senate investigation of honorable reedsmootreedbeed snootsmoot and the lmormotmormon church 190319071903 1907 provo brighamBrighaiahalahain young university 1960 stevartstewart lynn D constitutional rights and the mormon appeals for national redress of the missouri grievances provo brigham young university 1967

A thesis in Psychopsychologyloeyloay johnson martin alden the relationshiprelationshipof of religious commitment provo hajahajn young to self esteem Brigbrighamhain C university 1971

theses in religious instruction bell kenneth G adam samuel bennion superintendent of ldseducaLDS education 191919271919191919 191927 provo brigham young university 1969 cummingsciimmingscrimmingsCi A study LDS concerningCon immings 1 opinions robert I of of athletes concerticoncernicerni excellence in gospellivingcontrioutingtoextellotcegospel living contributing to excellence in sports provo brigham young university 1973 flake joel the history of the LDS church in southainoricasouth america 1951945 1960 provo brigham young university 1975 gardner E ray A preliminary study of social backgrounds and subsequent activities of 32342 brighamBrighainhajahajn toungyoungY ung ununiversityiver s ity graduates1922graduates 192219321922 1932 provo brigham youngoung university 1931934 351 gifford mervin leroy stephen markham man of values provo brigham young university 1975 gunnell wayne martin harris witness and benefactor to the book of mormon provo brigham young university 1955 hartshorn leon R philiaphilipphilidphiiip de la marelmare pioneer industrialist provo brigham Ytoungyoungoung university 1959 hawkes john douglas history of the church of jesus christ of latterlatterdayday saints in ausaustraliacralia to 1900 provo brigham young university 1965 hudson A james charles ora card pioneer and colonizer provo brigham young university 1961 jarman dean the life and contributions of samuel harrison smith provoprovo brigham young university 1961 jenson janet ben franklin stevartstewart lifetime pioneer provo brigham young university 1961 johansson carl erik history of swedish mission of the LDS church 190519731905 1973 provo brigham young university 19681966

works on wallace F bennett abramson marcia wallace F bennettbennettrepublicanrepublican senator from utah neneww york gorssman publishers 1972 bennett frances marion grant glimpses of a mormon family salt lake city deseret book company 1968

7 bennett wallace foster why I14.4 am a mormon 3rd ed salt lake city deseret book company 1964 v douth george wallace F bennett republican 1951751951 75 I1 in leaders inirilriirl profileiriprofile the united states senate 1972 appp 399404399 404

miscellaneous karl G maeser memorial statue unveiling program november 7 1958 peterson I1 matilda reminiscence microfilm of typescript from church archives historical department church of jesus christ of latterlatterdayday saints balthaltbaitsaltsait lake city utah know your utah and its governors salt lake tribune 1957 SELECTED bibliography

352 SELECTED bibliography

A books alienallenailen james B and leonard glen M ahe2hethe story of the lattelatterdaylatter day saints salt lake city deseret book company 1976 arrington leonard J great basin einelnkinkingdom an economic histhistory of the latterlatterdayday saints 1801900la18301900l81830o 1900 C ambridgecambridge harvard university press 1958 barker clare theatre games new york drama book specialists 1977 book of mormon trans by joseph smith jun salt lake city the church of jesus christ of latterlatterdayday saints crawford jerry L and snyder joan acting in person and in style dubuque iowa william C brown co publishers 1976 deseret news 1975 church almanac salt lake city deseret news 1975 deseret news 1976 church almanac salt lake city deseret news 1976 deseret nenewsws 19719777 church almanac saltsaitsa-it lake city deseret news 1977 dunn paul H rinhinwinyin if you will salt lake city bookcraft inc 1972 grant carter eldredge the kingdonkingdom of god restored 2nd ed salt lake city deseret book company 1957

1 hagen ufauta respect for acacting new york macaimacmimacmillanilaniian1 lanian publishing co 1973197316 hymns church of jesus christ of latterlatterdayday saints salt lake city deseret book company 1968 jenson andrew the historical record church encyclopedia book I1 salt lake city 1889 cbrienabrienobrienCBrien robert harriottmarriott the JWdwillardjwillardJ illardwillard marriott ststory 0 salt lake city deseret book company 1977 353 354 pardoe T earl the sons of brigham provo brigham young university alumni association 1969 spolin viola improvisation for the theatre evanston illinois northwestern university press 1963 stanislavski constantin an actor predPreppreparesaxes translated by elizabeth reynolds hapgood new york theatre art books 1936

B biographicabiographical1 dictionaries american men and women of science 12 ed sv hall howard tracy new york R R bowker company 1972 block maxine ed marriner S eccles current biography choswhos news and why new york the H W wilson co igi1911941 whoswho who in america 1976771976 77 sv bell terrelterrel howard 1976771976 77 sv cook melvin alonzo 1976771976 77 sv fletcher harvey 1976771976 77 sv fletcher james chipman 1976771976 77 sv gardner david pierpont 1976771976 77 sv king davidJ siodahlshodahlSiodahl 1976771976 77 sv oaks dallin harris 1976771976 77 sv elisonnilsonwilson owen meredith

C periodicals

agriculture secretary benson time malMaEmagazineazine april 13 1953 252825 28 ezra taft benson improvement era 1967991967994 herschensohn bruce the marriottimarriottsMarriotts A familyfamilys success story success unlimited may 1977 PP 1316131316516516 555561al6l oaks harold R et al iantanan evening of historical vignettes the EensignI1LI S i october 1972 879879487 994 thomas janet an ensemble the lives of successful Morcormonsmormonsmons sunstone november december 1977191977192121 355 walker ronald W and quinn D michael virtuous lovely or of good report 1 how the church has fostered the arts the ensign july 1977811977819319778193 93 widtsoeWidt soe john A and evans richard L the educational level of the latterlatterdayday saints the imimprovementorovement era july 1947 444447UU444 447

DOD newspapers

BYU professor directs best indian education program the herald 16 march 1977 p 13

david kennedy named NATO ambassador deseret news 8 january 197219723 P 3

dr oaks outlines growing worldwide recognition of BYU the Ddailydaliyailyliy Heraldherald 19 june 1977 dr tracy hall wins ACS award newspaper article from the personal filelleliefileflie of harold R oaks provo utah ex cougars in bowl the daildalldalidailydallydaliy ununiverseiverse 16 january 1978 killebrew visits Y today the daily universe 6 arrilaerilapril 1978 p 2 man with passion for tinkeringtinkeringt honored for lifelifesavingsaving gadgets newspaper article concerning wayne E quinton from the personalTers onalonai file of harold R oaks provo utah pres oaks appointed to law advisory board the dalledaliedaily univuniverse 5 january 1978 schreiner will retire new organists called the dailxqniversedailydallydaliy universe 8 december 1977 televisions father is no household word deseret news 27 august 1977 three honorary doctorates conferred the dailydailydaliypo ilyliy universe newspaper article concerning H tracy hall from the personal file of harold R oaks provo utah three utahnsutahna earn well donetdoneadone1dooedone eDailythedailytheTh dailydaliy herald 18 january iggi1961 newspaper article concerning ezra taft benson

U W group tests bodydody reactions in alaska cold newspaper article concerning wayne quinton from the personal file of harold R oaks provobrovoerovo utah 356

utah financier adaiadviadvisorsorson to presidents dies 87 the herald 19 december 19771977s p 3 newspaperlewsnewspaderpaper article concerning marriner S eccles Y lavlawdavdaw professor becomes new loth circuit court judge the dalizdailydallydaliy universe 5 december 19771977s monday magazine section PP 898 9

E vitas bell terrel howard vita of terrel howard bell vita from the personal file of harold R oaks benson ezra taftaftt graphicalBobiographicalI1 sketch of ezra taft benson biographical sketch from the personal file of harold R oaks provo utah ezra taft benson biographical sketch vita from the personal file of harold R oaks provo utah bickmore lee S lee S bickmore vita from the personal file of harold R oaks proveprovo utah bradshaw merrill merrill bradshaw vita from the personal file of harold R oaks provo utah cutler virginia farrer virginia farrer cutler vita from the personal file of harold R oaks provo utah fletcher stephen harvey stephen harvey fletcher vita from the personal file of harold R oaks provo utah

ft mason james A ciameschamesjamesr a4aaA mason vita from the personal file of harold R oaloaioakss provo utah nibley reid reid nibley pianist biographical information from the personal file of harold R oaks provo utah oaks dallin H dallin H oaks biographical data data from the personal file of harold R oaks provo utah odom larry C colonel bernard F fisher vita from personal file of harold R oaks provo utah romney george george romney chairman of the boardboarde biographical sketch from the personal file of harold R oaks provo utah schreiner alexander alexander schreiner biographical information from the personal file of harold R oaks provoutahProvoprove utah 357 sears robert N robert N sears vita from the personal file of harold R oaks provo utah stone 0 leslie 4 0 leslieA- stone vitavi-U a from the personal file of harold R oaks proveprovo utah

F miscellaneous brigham young university archives autobiography of harvey fletcher proveprovo utah 1961967 typewritten cannon mark the innovative heritage of mormonism co- mmissioners lecture series provo brigham young university press 1971974 fortyoneforty one item bibliography included college of business and graduate school of management brigham young university national advisory council pamphlet from the personal files of earolHarolearoldharoldharoidharoldrharoldadRR oaks provolprovotprovo utah cosby bill go cart championship of the world wonderfulnesskonderwonder fulfuifalnessfulnessness warners brothers album album no ms1634MS 1631634 nd fisher william courtney thehe man colonel bernard F fisher article from the personal file of harold R oaks provo utah the jonathan browning houses and workshops nauvoo illinois nautoonaunauvootoovoo restoration inc pamphlepamphlet5 from the personal file of harold R oaks provo utah

it marriot visions the firstF L st fifty years an articleaxticle ffromom the personal file of harold R oaks provo utah millett artemus artemus millett thetemthechetemtenpietempletempiedledie builder family records of harold R oaks proveprovo utah mormon athletes an annotated list from the LDS church historianhistorians office salt lake city utah Morcormonsmormonsmons in Spsportsortisorths politics and government national award science business education music medicine and enter- taintainmentment list from the LDS church historianhistorians office salt lake city utah mormon VIPs annotated list compiled in preparation for mark cannon the innovativetnnovativeheritageheritage of mormonism commissioner1ommissionercommissionerss lecture series provo brigham young university presspre s s 197 4 313585 8 the professional business association of the college of business at brigham young lversityuniversityun JLverI1 sity george W romney special guest of the deandeanfdeana s seminar seriesserlesserie s program fforrorcoror lecture given on march 31 1976 the professional business association of the college of business at brigham young university J W harriotmarriot special guest oftheodtheof the deangdeansD canseans seminar seriesserlesserie s ft program for lecture given on february lu14 1975 mormon prominent ficfiguresCD ures list from LDS church historians office salt lake city utah salt lake mormon tabernacle choir booklet from the personal file of harold R oaks provo utah A scientists dreamldreamadreandream 20 years after discovering diamond dr tracy hall is still searching article from the personal file of harold R oaks provo utah other articles included southwick phyllis rntnelineemmelineP B wellsifwellsweilswelis if she were here today A manuscript of a lecture from the personal file of harold R oaks provo utah spolin viola theatre game file st louis cedrelcemrel inc 1975 utah symphony program for saturday november 26 1977 tr salt lake city wayne E quinton magazine article from the personal file of harold R oaks provo utah

what makes mormons run paul harvey news may 11 1975 manuscript from the personal file of harold R oaks provo0I rovo utah MORMONMOR 1tioniloh MONTAGE MORMONSMOIRMTUIS IN THE WORLD

A production SCRIPTL

kriskris barelemare1marelemare1 e morgan11organ department of theatre and cinematic arts MA degree april 1979

ABSTRACTABSTF-A C TL

this pprojectroj actect makes available material that will heldhelpheipheidneid drama t1ta 1 directors cast young people in an improvisational show this1lisais1is thesis includes suggestions for try outs a play manuscript withwitwlkwikuh specific stage directions understandable to an inexperienced directordirec preparapregara tion exercises to help actors develop necessary dramatic skills an index to these exercises arranged by areas of skill development notes to thetlletiie director an extensive bibliography and additional references for further research the exercises can also be used for development of aactors1 oysors in any production and maymay be applied to education programs the playpaay mormon montage concerns mormon contributcontricontributecontributionsbutionslons to such fields as politicsU educatfeducatoeducationionlon sclencescience technology and business it can provide church identification models for LDSI1 youth as well as aid in the missionary effort

future contributions of mantmanmanyT LDS figures tb4eae world over may be added to this script which taps the res5resaresourceseesces of a world church and dortra7isportrays the aridedridepride of mormon heritaheritage 7 clrilr coiracoir1COMMITTEE1111tee APPROVAL

1rar 11.11 l roldroyd oaks cotlaia mili ateeutee chairchairmanchalyman

amar C errettlerrette committee 1eriber

charles L metten department chachairmanlrmanarman