After much thought and consideration, I have decided to leave A Motley Vision for the foreseeable future. After this post, I have one more essay I want to write for the blog as my last entry, but first I wanted to clarify the reasons why I am leaving, so that there is no room for speculation. Chiefly, it is because the focus at A Motley Vision has recently narrowed and focused on Mormon literary theory. I think that is a very good thing. It brings a much tighter and disciplined experience to the readers of A Motley Vision. However, much of my work here in the past has consisted of looser reviews, personal perspectives, and other kinds of blogging that don’t fit into the new paradigm. Also, my interests in blogging are extending very much to the Mormon theological and historical fields, which obviously don’t have a place here either.
My work has always been more centered on a creative, rather than an academic style of writing, with a very personal perspective. Literary theory is something I find very interesting and like to dabble in, but it really has never been my focus, although I’m certainly pleased there are many talented people, including those here at AMV, who are doing that kind of excellent and much needed work.
It should be made clear that no one has asked me to leave. There has been no “drama” to speak of among the AMV members that has precipitated this. I’ve always felt very welcome and included here and consider the writers at AMV to be my friends. They have made clear that my account will remain open if I ever want to return and post (even if it is only sporadically), which I may take them up on someday. But, as it is for now, I’ll mainly be contributing to AMV as a reader and in the comments boxes. This is a community I very much value and I still would love to hang out in that capacity. But I feel that recent changes are not personally conducive to my style of work and it would be better for all involved for me to bow out. Continue reading “A Fond Farewell”
As one of my last posts for A Motley Vision (I’ll go more into that in a different post) I wanted to conduct an interview with one of my favorite Mormon playwrights (one of my favorite playwrights, period), Melissa Leilani Larson. Mel has created a body of work that is impressive and moving, and she is one of Mormonism’s best and brightest dramatists. So without further ado:
1. So, first, tell us a briefly about yourself. Your personal, educational, creative background as a person and as a playwright, your interests, what makes you distinct?
I’ve been writing for as long as I can remember. I’ve always been a voracious reader, and I think that love of reading led me to writing stories of my own. I wrote all through school, first grade on up, until I earned my BA in English/Creative Writing from BYU and later my MFA from the Iowa Playwrights Workshop.
As far as what makes me distinct”¦ Fabulous actresses far outnumber the parts they can play. My ultimate goal is to write fascinating, engaging, and challenging roles for women. A lot of them–several strong female roles per play. That’s the distinction to which I aspire.
After a half decade of delays, obstacles, research, and revising, I am so pleased that this behemoth is now ready to release onto an unsuspecting world! The plays it includes (from such Mormon Letters luminaries as Eric Samuelsen, Margaret Blair Young, Melissa Leilani Larson, Thomas F. Rogers, Susan E. Howe, James Arrington, Scott Bronson, Tim Slover, Robert Elliott, and Thom Duncan) have effected my life in profound ways and I hope other people will feel the same. They make up some of the finest accomplishments in the history of Mormon Drama. The volume is huge… nearly 700 pages. It has 11 plays, playwright biographies, and a 30+ page introduction on the history of Mormon drama. We’ve tried to be thorough, we’ve tried to give you something meaningful. I hope you’ll see why this is a project I thought was worth working and waiting for.
Saints on Stage is the most comprehensive and important work on Mormon drama ever published. This volume anthologizes some of Mormonism’s best plays from the last several decades, many of them published here for the first time. Several of these plays have won honors from institutions as varied as the Kennedy Center and the Association for Mormon Letters.
This volume includes historical backgrounds and playwright biographies, as well as an introduction that provides an extensive overview of Mormon drama. The following plays are included:
I have been super impressed with both Fiona and Terryl Givens, authors of the masterful (it’s not hyperbole, it’s that good!) theological work The God Who Weeps: How Mormonism Makes Sense of Life. In both their writing, and in the interviews I have heard/read them give, I have been inspired. Terryl Givens has rightfully received a lot of attention in the past for his previous books, but with this round of interviews for The God Who Weeps that I have read and listened to, I have also been super impressed with Fiona’s articulate voice, engaging ideas, and her powerful spirituality and identity. So I approached her about doing an independent interview, to which she graciously conceded. I was thrilled that she put the thought and care to engage in a long and fruitful interview. Lots of amazing stuff! Perhaps my favorite interview I have ever conducted, due to the time, thought, informed intelligence, and spirituality Fiona infused her answers with. So here it is:
MS: First, in a nut shell, tell our readers a little about yourself. About your conversion to Mormonism, your professional and literary background/ interests, your relationship with Terryl, your family, and anything else you would really like our readers to know about the intriguing Fiona Givens.
FG: I converted to the Church in Germany where I was working as an au pair during my gap year between graduating from New Hall School, where I had been head girl, and university. The preceding summer I had spent in earnest prayer, trying to divine God’s will for me and my future, as to that point, I had taken very little interest in it myself. The answers were totally unexpected and unanticipated. Shortly after arriving in Germany, I met a lovely lady with whom I became fast friends. I was happy that she liked to talk about God, as He was uppermost in my mind. Eventually she took me to her “church”–a gathering of people in a room on the second floor of a building. What I felt when I entered that sparsely attended meeting was something I had never felt before–a spiritual warmth that was inviting. And I was happy for the opportunity to learn more. That being said, I had no intention of leaving Catholicism, secure in its position as the longest standing Christian faith tradition.
However, the spiritual experiences that ensued in my conversations with the missionaries were nothing short of Pentecostal and I was eager to share my transformation with my family, who responded very much like Gregor Samsa’s family in Kafka’s Metamorphosis. The two years following my baptism were very painful. I had left in the detritus of my baptism not only a rich and vibrant faith tradition but my family, whom I had shaken to the core, wrenching their ability not only to comprehend me but to communicate with me. I had brought a rogue elephant into our family room. It is still there. The wounds are still palpable. However, due in large measure to the kindness and love of Priesthood leaders, my wobbly legs were strengthened and, amazingly, I did not use them to flee a still alien religion, an alien culture and alien language.
Through a set of miraculous circumstances I was granted a multiple entry visa to pursue a degree at Brigham Young. I met Terryl the first day of our Comparative Literature 301 class with Larry Peer. Terryl was seated on the back row. I was seated on the front. He was self-effacing. I was not. We were married a year later. He pursued a PhD in comparative literature and I pursued the raising of our children while taking a class a semester, when possible, to keep the little grey cells functioning amidst the barrage of babyspeak. Continue reading “Nothing Can Separate Us From the Love of God: An Interview with Fiona Givens, co-author of _The God Who Weeps_”
PRESS RELEASE: Zion Theatre Company celebrates Farewell to Eden‘s 10th Anniversary with a Production at the Echo Theatre.
Ten years ago, Farewell to Eden premiered at Utah Valley University. The student written show by Mahonri Stewart was a success, selling out its run, prompting enthusiastic reviews, and going on to win second place in the Kennedy Center’s American College Theatre Festival’s national playwriting award, as well as snagging a KCACTF National Selection Team Fellowship Award. The strong showing the play presented at the Festival prompted one of the judges, Gary Garrison, to say that the play was “the most intelligently written play I have read [for the festival] in a decade.” For its ten year anniversary, Zion Theatre Company is remounting a production of the play directed by Ronnie Stringfellow on April 15-27.
Farewell to Eden takes place in Victorian England, circa 1840, and tells the story of Georgiana Highett and her siblings Thomas and Catherine, who have recently lost their father and are tasked with carrying on his legacy. When two men enter into Georgiana’s life, including a childhood love from her past, life spirals into a web of complications and conflicts that have a dramatic build and a philosophical tension. Georgiana and her family are put in a place where they have to prove their mettle or fall, leading to a number of twists, turns, hilarious comedy, heart tugging romance, and intense drama.
I was interviewed with the insightful Katie Langston and Blair Hodges about C.S. Lewis on the Mormon Matters podcast. Many thanks to Dan Wotherspoon for having us on the show! Please come and enjoy a wonderful discussion with all of us who have loved and invested in C.S. Lewis’ life and works: