Journal of Book of

Volume 13 Number 1 Article 7

7-31-2004

The Hill Pageant: A Historical Perspective

Gerald S. Argetsinger

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BYU ScholarsArchive Citation Argetsinger, Gerald S. (2004) "The : A Historical Perspective," Journal of Studies: Vol. 13 : No. 1 , Article 7. Available at: https://scholarsarchive.byu.edu/jbms/vol13/iss1/7

This Feature Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of Book of Mormon Studies by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Title The Hill Cumorah Pageant: A Historical Perspective

Author(s) Gerald S. Argetsinger

Reference Journal of Book of Mormon Studies 13/1–2 (2004): 58–69, 171.

ISSN 1065-9366 (print), 2168-3158 (online)

Abstract Almost every summer since 1935, the Church of Jesus Christ of Latter-day Saints has staged a pageant at the Hill Cumorah. This article starts with the history of the pageant from its beginnings in the 1920s as a Cumorah Conference of the Eastern States Mission convened by president B. H. Roberts and held at the . Details about the pageant’s move to the Hill Cumorah as well as scripts, directors, music, costumes, props, set design, lighting, and cho- reography are included. The author concludes with the details of retiring the original script after 50 years of use and of the challenges of producing and revital- izing the new pageant while maintaining its purpose as a missionary tool. B. H. Roberts addresses a group of missionaries on the Hill Cumorah during a “Cumorah Conference” of the Eastern States Mission in the 1920s. Courtesy of Palmyra Bean Packer.

the hill cumorah pageant:

gerald s. argetsinger Smith Family Farm to celebrate Pioneer Day. Part of that celebration included the acting out of scenes from the Book of Mormon and church history. Almost every summer since 1935, the Church Over the next decade, the Cumorah Conference of Jesus Christ of Latter-day Saints has staged a expanded to a three- or four-day event and included pageant at the Hill Cumorah. Missionaries origi- missionaries serving in both the eastern states and nally presented these as part of the “Cumorah Canada. The program expanded to include ser- Conference” of the Eastern States Mission, which mons, athletic events, a Hill Cumorah pilgrimage, was convened annually to coincide with the July and a variety of entertainment programs to which 24th Pioneer Day celebration marking the day when the public was invited. On September 21, 1923, epi- first entered the Salt Lake Valley in sodes from the life of were acted out 1847. The tradition of the Cumorah Conference was at the Smith Family Farm, the Sacred Grove, and begun in the early 1920s when the mission presi- the Hill Cumorah, marking the centennial of Joseph dent, B. H. Roberts, and a group of missionaries Smith’s first visit by the angel Moroni. Permission traveled from City to the newly acquired to use the hill was granted by its owner, Pliny T.

58 VOLUME 13, NUMBER 1–2, 2004 A scene from the present-day Hill Cumorah Pageant: Lehi and his family sail to the promised land. All photos in this article courtesy of the author unless otherwise noted.

a historical perspective

Sexton. “Footprints in the Sands of Time,” a play by first time, trumpeters played from the crest of the John W. Stonely that celebrated the of hill, a tradition that still marks the commencement the gospel, was presented at the Smith Family Farm, of the Hill Cumorah Pageant. The theme for the honoring the centennial of the church in 1930, to 1936 conference was “America’s Witness for Christ,” an audience of 200. As part of the annual Palmyra and the conference featured a historical pageant, celebration at the Smith Farm, the final pageant was “Truth from the Earth,” adapted by Oliver R. Smith presented on July 23, 1934, by a cast of 30. and Meryl Dunn from the works of O. V. Whit- The church acquired the Hill Cumorah in the ney and C. W. Dunn. Mission president Donald B. early 1930s, and in July 1935 the Palmyra confer- Colton announced plans to make a pageant at the ence events were moved to the hill. That summer, Hill Cumorah an annual event. Even though there as part of the dedicatory exercises of the Angel Mo- was no specific script, the intent was to present a roni Monument, “The Book of Mormon in Song, pageant of quality that would quickly gain recogni- Picture, and Story” was presented, featuring vocal tion as “America’s Oberammergau.”¹ selections by such eminent soloists as Margaret Ro- The next year was the pivotal year in the de- maine, formerly of the Metropolitan Opera. For the velopment of the pageant as we know it. President

JOURNAL OF BOOK OF MORMON STUDIES 59 Colton appointed a “New York Committee” com- programs are vague. Second is the fact that over posed of H. Wayne Driggs, Roscoe A. Grover, Ira time, the name Harold I. Hansen came to be synon- J. and Beatrice Markham, William L. Woolf, and ymous with the Hill Cumorah Pageant, dwarfing all Oliver R. Smith. They were responsible for develop- others who contributed. His involvement has taken ing an appropriate script for presentation at the hill. an almost mythical stature. The situation is best Until then all programs had depicted scenes from characterized by the description of the American both the Book of Mormon and church history. In Revolution’s history in the musical 1776 (Peter Stone 1937 the two themes were separated and two out- and Sherman Edwards, 1964): door dramas were presented. “The Builders,” by Oliver R. Smith, about the Mormon handcart pio- John Adams: . . . I mean, what will people neers, was performed on Saturday, July 24. A Book think? of Mormon play taking its title from the previous Ben Franklin: Don’t worry, John. The history year’s theme, “America’s Witness for Christ,” by books will clean it up. H. Wayne Driggs, an English professor at New York John Adams: It doesn’t matter. I won’t appear in University, was performed on Friday, the 23rd, and the history books, anyway—only you. Franklin again on Sunday, the 25th. This script, with oc- did this, Franklin did that. . . . Franklin casional modifications, became known as the Hill smote the ground, and out sprang George Cumorah Pageant and was presented annually, Washington, fully grown and on his horse. excluding the war years, for 50 years, from 1937 to Franklin then electrified him with his miracu- 1987. Its purpose was to depict the Book of Mormon lous lightning rod, and the three of them— as the fulfillment of Bible prophecy and as a testi- Franklin, Washington, and the horse—con- mony of Christ’s divinity. The dramatic structure ducted the entire Revolution all by themselves. was chronological, generally following the tradition of the American community pageant, which was To the admiration of many and the chagrin of oth- to depict independent scenes related to a theme. ers, Harold I. Hansen seemingly conducted the en- That first year, it included six episodes from the tire Hill Cumorah Pageant by himself. Book of Mormon: “The Prophet ,” “Alma the Younger,” “The Sons of Mosiah,” “,” “Signs at the Crucifixion of Christ,” and The Wood and Hansen Years “Christ’s Appearance to the Nephites.” As missionaries grappled with staging the first In April 1939, J. Karl Wood was interviewed production of “America’s Witness for Christ,” a new by David O. McKay, then second counselor to missionary with theatrical experience easily solved President Heber J. Grant, and called to direct the some staging problems. His name was Harold I. pageant, the first time a theater professional was Hansen, and he was quickly named a codirector brought in from outside the mission to oversee the of the pageant, working with Joseph W. Williams production. Wood was the director of the Logan under the supervision of Oliver R. Smith. There is () Pageant Society and, according to his fam- some confusion regarding the responsibilities of ily, was interviewed by President McKay specifically persons working on the pageant prior to World War about “directing” the pageant. Wood’s call was ex- II. Interviews conducted by pageant researchers tended by a letter from Stephen L Richards, which Charles W. Whitman (1967) and Randy V. Hansen adds to the confusion, stating only that Wood was (1978) verify that involved individuals have ex- being called to “help out” with the pageant. Wood, tremely different recollections.² These differences who had known Hansen for years, invited him to reflect an early rent between the New York Com- return after his mission, and the two worked to- mittee and the Utah production personnel that con- gether, dividing producing, technical, and direct- tinued for decades. These differing opinions seem ing responsibilities through 1941, the final year of to stem from two primary concerns. First, during production before the pageant was suspended for the early years of the pageant, participants ignored the duration of World War II. The predominant precise theater terminology. Therefore, published perception is that Hansen served as the artistic credits in advertising, newspaper, and even pageant director and that Wood served as the technical

60 VOLUME 13, NUMBER 1–2, 2004 King Mosiah, Alma, Ammon and King Lamoni, General Moroni and the title of liberty, and an exciting destruction scene that preceded Christ’s appearance at Bountiful. Hansen also worked to ensure that the pageant incorporated advances in technology, such as the development of unique water curtains and the com- puterization of stage lighting. Harvey Fletcher, inventor of stereophonic sound, designed, built, and installed a system that utilized state-of-the-art, five-track recording tech- niques. Another of the most significant modifications came in 1957 when , then a graduate stu- Crawford Gates (far right in blue sweater) conducts a recording session in the Tabernacle with dent at the Eastman School the Utah Symphony and . Gates’s original score was used for the Hill Cumorah of Music in Rochester, New Pageant from 1957 to 1987. York, composed an original score for the pageant, which director during these years. The other view is that was recorded by the Tabernacle Choir and the Utah Wood was the artistic director and Hansen worked Symphony Orchestra. This was then mixed with under him. Programs from the 1939–41 pageants recorded vocal characterizations and sound effects. add to the confusion because theater terminology That master recording was used through the final is not specific and there is disagreement regarding performance of the original pageant in 1987. the meaning of printed credits. It seems reason- able to conclude that Karl Wood was in charge of the pageant. He was called to work at Cumorah Winds of Change and worked with Driggs to revise the script for the 1939 production. It is also reasonable to assume The release of Harold Hansen in 1977 neces- that Hansen returned to Cumorah at the invitation sitated several changes in the way the pageant was of his friend Karl Wood because of his experience produced. His role as producer/director was divided in staging the pageant. Having someone on hand into two separate positions. Jack Dawson, a retired who was instrumental with past productions is a television producer, was called to serve as the pag- primary method of ensuring continuity. Wood’s ex- eant producer. Jack Sedarholm, one of Hansen’s as- pertise was in the area of technical theater and pro- sistants, was called to serve as the artistic director. ducing, while Hansen’s was in casting and directing Sedarholm found himself stuck between a rock and actors. Newspaper accounts list both as directors of a hard place. Because of his friendship and constant the pageant and depict the two working side by side contact with Hansen, Sedarholm felt obligated to on both directing and technical projects. maintain the pageant organization and production In 1946, when mission president Roy Doxey as it was. Even so, together Dawson and Sedarholm revived the pageant, Harold I. Hansen was called made two major contributions to the pageant. as the pageant’s artistic director, a position he filled First was the upgrading of the costumes. Until for the next 30 years. During those years he oversaw this time, the pageant had never been designed. script revisions, incorporating episodes depicting In 1937 costumes were borrowed from a closed

JOURNAL OF BOOK OF MORMON STUDIES 61 Burning of Abinadi ca. 1960 (left) and 1988. General Moroni and the Title of Liberty ca. 1975 (left) and ca. 1982.

Broadway biblical extravaganza, The Eternal Road. ters provided costumes for over 600 characters and Wood brought costumes with him from the Logan actors. The impact of that work led the producer Pageant Society, and his wife, Phebe, designed and and director to embark on what was to become a re- made other costumes. During the Hansen years, vitalization of the artistic components of the entire costumes were borrowed from the theater depart- pageant. As the new costumes were used extensively ment at . These often re- for publicity, it was noted that the poor-quality flected what was available rather than what was his- crepe-hair wigs and beards detracted significantly torically accurate clothing. For example, pumpkin from the costumes’ effectiveness. As a result, the hose and tights from a production of Shakespeare’s wardrobe mistress, Barbara Williams, was sent to Henry VIII were used for a few years as part of the costumes for Alma the Younger and the four sons of Mosiah. In other years, more appropriate costumes came from the BYU production of Peter Shaffer’s Royal Hunt of the Sun. After Hansen was released, BYU reclaimed all of its major costumes, presenting a challenging prob- lem for preserving a theatrically exciting production. Rochester costume designer Gail Argetsinger was called to design and supervise the construction of ap- propriate spectacle costumes for the production. She approached the assignment by studying what Book of Mormon and Mesoamerican studies reveal about ancient American dress. The experts at the Smithso- nian Museum in Washington, DC, also came to her aid in determining what people might actually have worn in American civilizations dating from about 600 BC to AD 400. Argetsinger was allowed to peruse their vast collection, and she also visited other col- lections of clothing from North and South American native civilizations. When she was called to design appropriate costumes, she was also instructed not to tie any part of the pageant directly into any specific known civilization. Combining her research with a flair for theatri- cality, Argetsinger and an army of sis- Gail Argetsinger designing pageant costumes, about 1982.

62 VOLUME 13, NUMBER 1–2, 2004 time they were at Cumorah. Men wore white shirts and ties, and women wore dresses and hose. Under the new pageant organization, there was no real justification to maintain missionary dress for entire families during the week of hard work and rehearsals. It was clearly a serious burden, par- ticularly for mothers, to maintain Sunday dress for entire families. Dress standards were modified to “appropriate work and recreation clothing” for all work crews and for the cast during rehearsal week, Sunday dress went into effect when the pageant opened to the public. Study groups were changed to Mormon, Moroni, and plates ca. 1975 (left) and 1988–present. “cast teams” and were divided into groups following the same format used in church Primary and youth programs. Cast members continued to study Latter- to learn the art of crafting hand- day Saint church history and the Book of Mormon, ventilated beards and wigs. Argetsinger and Wil- and they were taught a “welcoming dialogue” to liams worked together on pageant costumes and introduce the audience to the production and invite hair for almost 20 years. them to receive a copy of the Book of Mormon. Ac- The second major contribution of Dawson and tivities expanded to a speakers’ bureau and Scout- Sedarholm resulted from the 1973 visit by church ing and athletic programs. The success of this was president Harold B. Lee. He remarked that it was verified by scores of letters written by participants time to phase out missionaries’ participation in the proclaiming the “pageant experience” as one of the pageant. As a result, the cast now consists entirely finest experiences participating families had ever of church members, primarily families and single had. adults, who converge from all over the world to Lund Johnson was called as artistic director for participate in the “pageant experience,” a unique 1986 and 1987, the final two years of the original opportunity that is much like a youth conference pageant. Reflecting his southwestern background, during rehearsal week and a missionary conference he added a golden palomino to the title of liberty during performance week. scene and directed the 50th anniversary production. During the years of missionary participation, When the original script was retired after 50 years, the focus of the production team was the show it was the last representative of a lost art form: the itself. When the missionaries were not onstage as American community pageant. Times had changed, actors, they helped with construction and practiced and communities had stopped producing founder’s their missionary dialogues. The member-oriented day and Fourth of July pageant celebrations, the cast found themselves with hours of time, waiting tradition from which “America’s Witness for Christ” between rehearsal responsibilities. Dawson focused had developed. The audience was now accustomed much of his attention enhancing the system of to films and television and could not understand a study groups that had been practiced at Cumorah presentation of unrelated “scenes on a theme.” The for years. When the pageant was a program of the time had come to completely rework the pageant at Cumorah mission, missionaries were the primary Hill Cumorah for a modern audience. actors and technicians. BYU coeds came from Provo to provide the one required female actor and the masses for the crowd scenes. These sisters were Following Priesthood Principles organized into study groups that prepared them to mingle with the audience, answering questions and For the first time a pageant presidency received taking referrals. They also ensured that everyone that calling through priesthood lines of author- involved enjoyed a unique spiritual experience. It ity. This significantly shifted responsibility for the being a missionary program, everyone was expected production from Utah to the Cumorah region. Fol- to be in appropriate missionary dress the entire lowing priesthood leadership principles, the pageant

JOURNAL OF BOOK OF MORMON STUDIES 63 Samuel the Lamanite, 1988–1997. presidency was able to solve many of the problems minutes, approximately 40 minutes shorter than the that grew out of specific interests among pageant previous version, allowing families to return home personnel. Instead of a theater organization report- at a reasonable time. A final point of interest is that ing to a bureaucratic system of church committees, the older script features the conversion of the Lama- the priesthood organization provided clear lines of nites, while the new script focuses on the story of the authority for all aspects of production. President Nephites. This change subtly instructs the modern Roger Adams, with counselors Jerry Meiling and audience that the pageant’s message is not just for Gerald Argetsinger, handled the logistical end of those who are not Christian; even though viewers the production, including such things as selecting may have the Bible, it is necessary to have the fulness cast members, housing, local arrangements, per- of the gospel of Jesus Christ and priesthood authority mits, and budget. Charles Metten, a BYU theater as provided by the restoration. professor, was called as artistic director with the ad- The new script required a new score, so Craw- ditional responsibility to oversee the unified artistic ford Gates was again called to compose music for creation of all aspects of the new pageant. the Hill Cumorah Pageant. For the few similar was assigned the responsibil- scenes, such as the nativity, he created new arrange- ity to write the new script that would become the ments of established musical themes; for the new foundation for all other artistic decisions. He was scenes, he composed fresh motifs. Finally, the new instructed to make the script accessible to a mod- pageant was scored as motion pictures are, with ern audience, targeting the non-scripture-reading, the music playing continually, underscoring all non-Mormon young adult. Card accomplished this dialogue and special effects. Eric Fielding designed by presenting episodes from the Book of Mormon the new settings and properties, creating seven as a story with a beginning, a middle, and an end. individual stage units that, when viewed from the It is the first script produced by the church wherein audience, create the impression of an ancient Maya the narrative is in a dialogue form that incorporates erected on the side of the hill. Modern light- modern English; the only characters repeating direct ing shines out from 10 towers that flank the stage, quotations from scripture are angels and Jesus Christ. utilizing almost 500 instruments that provide con- The running time of the new pageant is 1 hour, 15 stantly changing patterns of illumination.

64 VOLUME 13, NUMBER 1–2, 2004 Finally, Gail Argetsinger was asked to continue mere 300 warriors. When they defeated the Midian- as the costume designer, ultimately replacing all old ites, they knew that their victory was due solely to pageant costumes with over 1,500 costumes specifi- the Lord. In a similar manner, by the time the new cally designed for the new production. Rodger So- pageant opened on July 22, 1988, everyone knew rensen assisted Charles Metten with the preproduc- that its success was due solely to the Lord. tion work, and Michael Campbell received a call to To grasp the magnitude of producing the new create new choreography for the production. Camp- pageant, it is important to understand that a typi- bell achieved a remarkable transformation by start- cal Broadway musical requires at least two years ing with dance appropriate for 600 BC Jerusalem and for development. That includes script writing and ending with dance indicative of AD 400 Mesoamer- revisions; the composing and arranging of music; ica. As the Book of Mormon civilizations evolved the designing and construction of sets, “properties” from ancient Jerusalem to Mesoamerica, their dance (such as metal plates, weapons, and spoils of war), evolved from one civilization to the other. Metten costumes, and lighting; and finally the casting and directed the voice actors, the recording of the special rehearsing of the actors. Most elements of the new effects, and the mixing of the voice, special effects, pageant were developed in less than one year and and music sound tracks. He also directed the 1988– many in less than six months. Not only did a new, 89 productions at Cumorah, taking responsibility for complex, state-of-the-art spectacle have to be con- the initial evaluation and revisions, working closely ceived and designed, but it was being produced in with Salt Lake offices and the pageant presidency, a setting that was not conducive to this type of cre- firmly establishing the new production. ation. Instead, it was being created from the ground up, in the open air, at an active historic site. The pageant’s development involved all phases of theater A Test of Faith in addition to a wide array of church committees and General Authorities at all levels, many of whom Producing the new pageant in 1988 provided were already very supportive of the pageant. Af- everyone involved with some real tests of their faith. ter all, this was the flagship pageant of the church It seemed as though everything that could go wrong presented at one of the most important historical did go wrong. It reminded the pageant presidency of sites of the restoration. The committees and depart- the story of Gideon as recorded in Judges, chapter 6. ments were responsible for such things as historic Gideon was leading an army of over 30,000 war- sites, visitors’ centers, pageants, building and con- riors into battle against the Midianites. But the Lord struction, maintenance, and history. Under perfect did not want Gideon’s people to boast because of a conditions, it could have been considered a miracle victory, taking claim for the defeat of their enemy. that the new pageant was even performed in front Ultimately, the Lord reduced Gideon’s troops to a of a live audience. The difficult bureaucratic and production routine was exacerbated by the fact that 1988 was one of the rainiest summers ever for the Hill Cumorah Pageant. Some of the more spectacular challenges began with the recording of the music. Crawford Gates had to compose and arrange the music in time for a recording session scheduled over a year in advance with the Tabernacle Choir, the Salt Lake Children’s Choir, and the Utah Symphony Orchestra. There were three days set aside in the Tabernacle for this recording session. If any of those days were missed, it would be impossible to reschedule recording time. Recording time schedules were also strictly controlled by the rules of the Salt Lake Musicians Charles Metten and assistant directors work with model of the set, Union, which specified break times and set limits on production week, July 1988. the amount of time musicians could work each day.

JOURNAL OF BOOK OF MORMON STUDIES 65 Just prior to the recording dates, Marion G. Romney, president of the Quorum of the Twelve, passed away. His funeral was set for the second of the three days. One-third of the recording time disappeared. As the second, and final, recording day neared its end and it seemed as though they just might be able to complete the recording, a ma- jor problem occurred. The drum head for a special instrument required for the final number would not fit on properly. Nothing the percussionist did seemed to solve the problem. Finally, at the last mo- ment, the head slipped into place and the orchestra began the number. Just as the final note faded away, the union steward blew his whistle signifying the end of the recording session. The musicians imme- diately applauded, gathered up their instruments, and walked away. They had succeeded by seconds. In a related incident, when Eric Fielding was contracted to design the set for the pageant, the church assumed that he would be on-site for its construction. Following standard theater proce- dures, the designer is not responsible for construc- tion, and Fielding assumed that his work was com- pleted when his designs were accepted. Acceptance came slowly. As the project snailed its way through the , it came to a complete stop with the building committee, which deter- mined that the designs did not meet specifications for church stages. Significantly, those specifications Work crew assembling the new set, 1988. were established for permanent indoor stages and not for temporary outdoor events. When it became clear that this delay could actually prevent the pag- eant stages from being manufactured in time for the stages. Again, no one was contracted to be on-site July opening, an emergency meeting was arranged for the assembly. When the finished pieces of the set for all involved committee heads. were dumped at the Hill Cumorah like a gigantic, It was finally agreed that the stages were, in- scrambled erector set, there was no one to supervise stead, platforms. As platforms, they satisfied all its construction. There was no equipment, just a few specifications. The designs were finally given the ladders, hand tools, and a crew of roughly 30 young stamp of approval and were submitted for con- men, ages 17 to 22, ready to put things together. In struction bids. By now, all theatrical construction a panic, phone calls were made, and finally Morton companies were well into their summer of 1988 Thiokol agreed to send an engineer to supervise production schedule, so no one would even con- construction of the set. sider bidding on the project. It was late March, and All of the pieces for the set were delivered to the enormous seven-stage configuration had to be the hill with the exception of “stage three,” which completed in time for construction on-site and re- contained the apparatus for the ship-at-sea scene. hearsals for a July 22nd opening performance. Once Because of the hydraulic system required to operate again, an unusual solution was found. The Morton the raising, lowering, and rocking of the “ship,” the Thiokol Corporation, north of , was stage was built in Utah and shipped by truck to New sitting idle because of the Challenger space shuttle York. Unfortunately, when the truck reached Ohio, it disaster. The company agreed to manufacture the was stopped at the border for three days. It was too

66 VOLUME 13, NUMBER 1–2, 2004 large to receive a permit to travel through Ohio. At other like giant scissors. If an actor accidentally fell, Cumorah, the set was going up, the cast had arrived, there would be no way to avoid injury. Reluctantly, and rehearsals were under way. Opening day loomed the decision was made that actors were to “pretend” closer and closer, but stage three was nowhere to that a ship was being tossed to and fro by gigantic be seen. The large hole where stage three was to be ocean waves. installed was filling up with water because of the The rain continued. Part of Eric Fielding’s incessant rain. Negotiations for special permission design included a beautification of the actual hill. to transport the stage through Ohio failed. Finally, Thousands of square feet of sod were ordered to the truck had to travel around Ohio, arriving at Cu- cover the bare dirt left after the initial grading. morah on Tuesday, just three days before opening. However, no money was budgeted to lay the sod. A crane was hired to move it into position on the The youth of the Rochester New York Palmyra hill. The enormous crane moved onto the base of Stake were ultimately enlisted to lay the sod. It was the rain-soaked hill and began to lift the heavy stage unrolled in strips up and down the hill. As the rain from the truck. As the stage was maneuvered into poured, the newly laid sod slowly slid down the hill. position, the crane sank into the mud, obscuring Stakes were finally required to fix it in place. much of the multi-tiered stage. When the crane was The electricians installing the lighting equip- finally removed two days later, it was discovered that ment on the 10 light towers were all experienced stage three had been installed backward. workers in the dry western states. They neglected To add insult to injury, the hydraulic-driven the ramifications of placing transformers and con- ship could rise out of the stage, but it refused to nection boxes on the wet, grassy hillside of Cumo- roll back down. It had been tested on the dry ce- rah. Four days before opening, lightning struck the ment floor of a factory, but not in the outdoor hill and burned out all of the major theater lighting conditions at Cumorah. At the pageant site, it also equipment. Calls were made all over the United became evident that the ship unit was too danger- States in order to secure replacement equipment, ous to use regardless of its condition. The rocking which was installed piecemeal as it arrived—on motion caused sharp metal edges to pass by each newly constructed, and grounded, platforms above

Symbolic battle between Nephi (left) and Laman (right).

JOURNAL OF BOOK OF MORMON STUDIES 67 the wet grass. When the pageant opened Friday given the charge to keep the pageant vibrant and night, it was the first time it had been performed to coordinate its evolution as it settled in for a long with lighting. run. He and his team of associate directors contin- Hour after hour of rehearsal time was washed ued to discover new and more effective ways to stage away by the rain as the cast sat under the protec- the production in order to tell its story in a clear and tive cover of the study shelter. On Thursday morn- exciting manner. Argetsinger worked closely with ing, sitting and watching the rain pour down, Jerry Rick Josephsen, a motion picture special effects di- Meiling leaned over to me and asked, “How long do rector, who was called to serve as the pageant’s tech- you think it will rain?” I paused, thought, and really nical director. They worked to imagine, design, and noticed that everyone’s spirits were up. I had that create an ever-increasing array of special effects that peaceful feeling when you know the Spirit is with supported the theatricality of the pageant. These you, so I answered, “I don’t know, but it doesn’t included a remarkable storm at sea with rain and matter.” Jerry paused, smiled, and said, “That’s a lightning striking “the Lehi ship,” sending its sail good answer.” frayed and flying in the wind; angels that suddenly By the afternoon of opening day, most of the appeared and disappeared; fire and brimstone in the problems had been resolved at least enough to al- destruction scene enhanced by the appearance and low us to know that we could stage a production for eruption of a volcano; a new method for creating people to see. The audience streamed in, the largest water curtains that more beautifully displayed the pageant audience in years. The opening proces- vision scenes; and augmented flying effects for the sional really moved the audience, and the show ran descending Christ both for his appearance at Boun- smoothly. The Spirit was strong, and we knew that tiful and again at the end of the play, first appearing the pageant was open only because of the hand of and descending from 30 feet above the stage and as- the Lord. The next day, the heavens opened and it cending back into the heavens, finally flying almost poured. As it came close to curtain time the second 50 feet toward the audience. day, lightning struck the light towers again, but this As the pageant presidency worked with the ar- time no equipment was damaged. It was clear that it tistic team during the maturation process, attention was too dangerous to continue with the production. continually focused not only on the artistic quality For only the seventh time in 51 years, the show was of the production, but also on the overall experi- canceled due to rain. This was very hard on the cast, ence for the participants, as well as on the success of some of whom were sobbing and asking, “Why?” The the pageant as a missionary tool. They learned two fact that Gordon B. Hinckley was in attendance re- important lessons. As the spiritual quality of the ex- moved much of the anxiety. He noted that, in spite of perience was enhanced, both the aesthetic quality of the rain, more referrals were collected that night than the show and the quantity and quality of mission- opening night, and he gave permission, this one time, ary referrals increased. Although it is obvious that for the pageant to be performed on Monday night a balance is necessary, it became clear that taking in order that those who had traveled thousands of time for the participants’ spiritual development and miles would have the opportunity to see it. The rains service was more effective than requiring more time of 1988 turned out to be a tremendous blessing in for rehearsal. Almost 3,000 referrals were generated disguise. Because of the storms, all of the weaknesses in 1997, 10 times greater than the 250 referrals gath- inherent in the extensive new project were made ered in 1988. The positive response to missionary manifest. This occurred at a time of great interest contacts was also significantly higher. in the project. Because the weaknesses were clearly The development of the spiritual experience for seen by everyone, it was a priority to find the ways cast members led directly to the second important and means to solve the problems in order to ensure a lesson, the realization that the spirit with which quality production for years to come. an artistic work is created is communicated to the audience of that work. When every member of the Emphasizing the Spiritual cast and crew strove to improve their own testimo- nies and spirituality, the impact of the performance Gerald Argetsinger was called to serve as artistic was enhanced for each member of the audience. director for the years 1990 through 1997. He was There is a symbiotic relationship between these

68 VOLUME 13, NUMBER 1–2, 2004 various components. For example, as the quality stantially increasing attendance. As a public rela- and detail of the costumes improved, it became nec- tions tool, the pageant is credited with changing the essary to provide the cast with appropriate dressing attitude of people within the Cumorah area from room facilities. The lack of these facilities required antagonistic to positive. that crowd costumes had to fit over street cloth- The most notable change occurred in 1991 when ing because there was no place to privately change. local service organizations were invited to provide When dressing rooms that provided for changes snacks and meals to pageant visitors. The offer was were constructed, they allowed the designers to accepted by the Rotary, Lions, and Kiwanis service create more appropriate and de- organizations, which have turned tailed costumes. Wearing beautiful the pageant into their primary an- costumes, of course, has allowed nual fund-raising event. Because of the cast members to greet the audi- their involvement, the community ence before production, providing no longer views it as someone else’s an up-close view of what would pageant, but as “our pageant.” Its later be seen onstage. Naturally, acceptance by the community was the audience was open to the ap- demonstrated when it was given a proach of costumed characters, full page in The Image Is Rochester often asking to have their photos (1997), by Gabe Dalmath and G. R. taken with cast members and more DeFranco, a book describing no- eagerly listening to their invitation table achievements in the Rochester, to receive a complimentary Book of New York, area. The contributions Mormon. When people filled out of the pageant are also chronicled referral cards, they knew that they in the mass-market book Mormon would be visited by missionaries America: The Power and the Prom- who would deliver the book. Since Nephi and the plates. ise (1999), by Richard N. and Joan the missionaries were no longer in- K. Ostling. As a missionary tool, volved in the production, they were cast members circulate among the usually able to visit referrals within days, instead of thousands of visitors who attend each performance, weeks, also improving the quality of the contact. greeting them and extending invitations to receive copies of the Book of Mormon. Most converts in the region credit the Hill Cumorah Pageant as one Embracing the Pageant of the significant experiences in their conversion process. As a spiritually enriching activity for Latter- The Hill Cumorah Pageant has become a ma- day Saints, participants value it as one of the finest jor media event, drawing almost as many people events in which their families can participate. of other faiths as Latter-day Saints. As the pageant The Argetsingers were released from their has matured into a more professional production, pageant callings at the conclusion of the 1997 promotion has also become more professional. Pub- production. By that time, Gail had designed and lic relations experts Bert Linn and Richard Ahern constructed over 3,000 costumes. It is humbling to expanded media coverage from local newspapers realize that much of the revitalization of the pag- to , Philadelphia Inquirer, and eant stemmed directly from the impact of her first Good Morning America. This increased tenfold the pageant costumes 19 years before. In 1998 Rodger number of bus tours adding the pageant to their Sorensen became the pageant’s eighth artistic direc- itineraries. When Donny Osmond and his family tor. Under his direction, it continues to evolve, re- participated in the 1997 cast, hundreds of newspa- maining the flagship pageant of the Church of Jesus pers across the country chronicled the event, sub- Christ of Latter-day Saints. !

JOURNAL OF BOOK OF MORMON STUDIES 69 Discourses, 14:330–31; 15:182–83; 8. Brigham Young, in Journal of Road to Hill Cumorah” (PhD of the Ancient Near East (New 16:57; 17:30–31; 17:281; 19:218. Discourses, 19:37. diss., Brigham Young University, York: G. E. Stechert and Co., Another source for Pratt’s ac- 9. Brigham Young, in Journal of 1982); Gerald S. Argetsinger, 1923), 70. For more contempo- counts is supposedly the Quorum Discourses, 19:38. “Cumorah Pageant,” in rary information, see Florence of the Twelve Minutes, 6 May 10. Brigham Young, in Journal of Encyclopedia of Mormonism, ed. Eloise Petzel, Textiles of Ancient 1849, but I have not been able to Discourses, 19:38. Daniel H. Ludlow (New York: Mesopotamia, Persia, and confirm this. Brigham Young’s 11. Brigham Young, in Journal of Macmillan, 1992), 1:347. Egypt (Corvallis, OR: Cascade record of that date, however, is Discourses, 19:39. Printing, 1984), 21–28. interesting to note: “I met with 12. Journal of Jesse Nathaniel Smith, Designing Costumes for the Hill 10. See Anawalt, Indian Clothing President Willard Richards and 217. Cumorah Pageant before Cortés, 209–14. Also see the Twelve on the 6th. We spent 13. Heber C. Kimball, in Journal of Rory R. Scanlon Margot Blum Schevill, Costume the time in interesting conver- Discourses, 4:105. as Communication (Bristol, RI: sation upon old times, Joseph, 14. Kimball, in Journal of Discourses, 1. See Margot Blum Schevill, Mark-Burton, Inc., 1986), 13. the plates, Mount Cumorah, 4:105. Costume as Communication: 11. See Federico Kauffmann-Doig, treasures and records known to 15. Kimball, in Journal of Discourses, Ethnographic Costumes and Ancestors of the Incas: The be hid in the earth, the gift of 4:105. Textiles from Middle America Lost Civilization of Peru, trans. seeing, and how Joseph obtained 16. See also Jeffrey R. Holland, and the Central Andes of South Eulogio Guzman (Memphis, his first seer stone” (Manuscript “Therefore, What?” (ad- America in the Collections of TN: Wonders, 1998), 108–17. See History of Brigham Young, 6 May dress given at the 2000 CES the Haffenreffer Museum of also Raoul D’Harcourt, Textiles 1849, Church Archives). See also Conference, Brigham Young Anthropology, Brown University, of Ancient Peru and Their Journal History of The Church of University, 8 August 2000), 2; Bristol, Rhode Island (Bristol, Techniques, trans. Sadie Brown Jesus Christ of Latter-day Saints, and Leslie A. Taylor, “The Word RI: Haffenreffer Museum of (Seattle: Univ. of Washington 6 May 1849. of God,” JBMS 12/1 (2003): Anthropology, Brown University, Press, 1974), 3. 2. Most of the cave accounts 52–63. 1986), 9. 12. See Patricia Rieff Anawalt, mention Oliver Cowdery as a 17. Account 10, by Orson Pratt, also 2. See Ralph Whitlock, Everyday “Textile Research from the participant. Although Cowdery mentions an angelic guardian. Life of the Maya (New York: G. P. Mesoamerican Perspective,” is not formally on record as 18. Wilford Woodruff’s Journal, 11 Putnam’s Sons, 1976), 44–46. Beyond Cloth and Cordage: having shared this experi- December 1869, 6:508–9. 3. “There is a tendency by some Archaeological Textile Research ence in speaking or writing, 19. Orson F. Whitney, Life of Heber Christians to assume too much in the Americas, ed. P. B. there is one obscure line from C. Kimball: An Apostle, the from archaeology. Sometimes the Drooker and L. D. Webster (Salt Cowdery that might refer to Father and Founder of the British words confirm, prove, authen- Lake City: Univ. of Utah Press, the cave experience. In describ- Mission, 2nd ed. (Salt Lake ticate, and substantiate can be 2000), 214. ing his feelings about the Hill City: Stevens & Wallis, 1945), employed. It can be proved that 13. See Michael D. Coe and Justin Cumorah, Cowdery wrote, “In 15–17. See also Brigham Young, historical conditions were such Kerr, The Art of the Maya Scribe my estimation, certain places are in Journal of Discourses, 2:5; that Solomon could have been as (New York: Harry N. Abrams, dearer to me for what they now George A. Smith, in Journal of powerful a king as the Bible says 1998), 97. contain than for what they have Discourses, 13:104; 16:193; and he was; but it does not prove that 14. See Mormon 1:8–9; Jacob 1:14. contained” (Latter-day Saints’ Wilford Woodruff’s Journal, God gave Solomon wisdom. It Messenger and Advocate, October 7:622. can be fairly well substantiated A New Beginning for the Pageant: 1835, 2:196; emphasis in original). 20. It is also interesting to note that that there was a census when 1948 to 1951 3. It is interesting that his account when Moroni appeared to Joseph Jesus was born; but this confir- Harold I. Hansen differs from the others regarding Smith on 21 September 1823 mation hardly proves his divin- the exact location of the cave, and revealed the existence of the ity. No archaeological evidence 1. J. Karl Wood was called to direct and yet it should be remembered Nephite record, “he informed will ever prove the atonement. the Hill Cumorah Pageant in that Whitmer’s statement “not [Joseph] of great judgments It must be recognized that there 1939. far away from that place” may which were coming upon the is a clear separation between 2. Thorpe B. Isaacson, in have been referring to the exact earth, with great desolations by historical and theological proof.” Conference Report, October place where the plates were famine, sword, and pestilence” Alfred J. Hoerth, Archaeology 1949, 156. found, and therefore the cave, (Joseph Smith—History 1:45). and the Old Testament (Grand 3. Thorpe B. Isaacson, in which was nearby, could have Perhaps the sword in the cave Rapids, MI: Baker Books, 1998), Conference Report, October still been in the hill proper. symbolized that these judgments 20. 1949, 156–57. Another possibility is that, for were at hand. 4. John L. Sorenson, The Geography some reason, Whitmer was of Book of Mormon Events: A “Hail, Cumorah! Silent Wonder”: thinking of Miner’s Hill, which The Hill Cumorah Pageant: A Source Book (Provo, UT: FARMS, Music Inspired by the Hill is just north of the Hill Cumorah Historical Perspective 1992). Cumorah and was said to feature a cave Gerald S. Argetsinger 5. Joseph L. Allen, Exploring the Roger L. Miller dug by ; see Cameron Lands of the Book of Mormon Packer, “A Study of the Hill 1. The Passion Play of Oberam- (Orem, UT: S. A. Publishers, 1. “An Angel from on High,” Cumorah: A Significant Latter- mergau is the world’s most en- 1989). Hymns of the Church of Jesus day Saint Landmark in Western during and famous play depict- 6. See John L. Sorenson, “The Book Christ of Latter-day Saints (Salt New York” (master’s thesis, ing the Passion of Jesus Christ. of Mormon Mapped,” in his An Lake City: The Church of Jesus Brigham Young University, It has been presented regularly Ancient American Setting for the Christ of Latter-day Saints, 2002), 59–62. since AD 1634 in Bavaria. Book of Mormon (Salt Lake City: 1985), no. 13; hereafter Hymns. 4. For a review of these missing 2. Charles W. Whitman, “A History Deseret Book, 1985). 2. Latter-day Saint children might records, see Monte S. Nyman, of the Hill Cumorah Pageant 7. See Patricia Rieff Anawalt, also think of one of their favorite “Other Ancient American (1937–1964) and an Explanation Indian Clothing before Cortés: songs: “The Golden Plates Lay Records Yet to Come Forth,” of the Dramatic Development of Mesoamerican Costumes from Hidden,” Children’s Songbook JBMS 10/1 (2001): 52–61. the Text of America’s Witness for the Codices (Norman: Univ. of of The Church of Jesus Christ of 5. Orson Pratt, in Journal of Christ” (PhD diss., University Oklahoma Press, 1981), 9–14. Latter-day Saints (Salt Lake City: Discourses, 16:57. of Minnesota, 1967); Randy V. 8. See Ralph Whitlock, Everyday The Church of Jesus Christ of 6. Orson Pratt, in Journal of Hansen, “Development of the Life of the Maya (New York: Latter-day Saints, 1989), 86. Discourses, 19:218. Cumorah Pageant” (honors the- Dorset Press, 1976), 43. 3. On summer evenings in July and 7. Brigham Young, in Journal of sis, Brigham Young University, 9. See Henry F. Lutz, Textiles and August, thousands gather on the Discourses, 19:39. 1978); Walter E. Boyden, “The Costumes among the Peoples slopes of the Hill Cumorah to

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