From: owner-aml-list-digest@lists.xmission.com (aml-list-digest) To: aml-list-digest@lists.xmission.com Subject: aml-list-digest V1 #255 Reply-To: aml-list Sender: owner-aml-list-digest@lists.xmission.com Errors-To: owner-aml-list-digest@lists.xmission.com Precedence: bulk aml-list-digest Monday, February 12 2001 Volume 01 : Number 255 ---------------------------------------------------------------------- Date: Fri, 9 Feb 2001 15:02:25 -0800 (PST) From: Sean Lucero Subject: [AML] Sales Figures in Mormon Market I hope this is kosher, but I'm still curious about sales figures. Can any of you who have published with LDS companies offer any numbers to give me a sense of what is realistic? (Margaret--Deseret Book; Linda--Cornerstone; Rachel--Covenant; Marilyn--CFI) I know your books are very different, but it would at least give me some idea of the range. Sean Lucero _______________________________________________________ Send a cool gift with your E-Card http://www.bluemountain.com/giftcenter/ - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm ------------------------------ Date: Fri, 9 Feb 2001 12:20:04 -0700 From: "Brown" Subject: Re: [AML] Critical Terms I am corrected, Ivan. But didn't we get SOME LIST for emotions! Now, I expect everyone to refer to it like your thesaurosisus. Marilyn Brown - ----- Original Message ----- From: Ivan Angus Wolfe > Actually - we don't know all that - that theory has been disproven. > Eskimos have no more words for snow then we do (snow, powder, hardpack, slush, > etc.) - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm ------------------------------ Date: Thu, 08 Feb 2001 23:13:02 -0800 From: Ethan Skarstedt Subject: Re: [AML] Who Is Cornerstone? Thanks for the information on Cornerstone. - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm ------------------------------ Date: Fri, 9 Feb 2001 23:18:48 -0700 From: "Brown" Subject: Re: [AML] Theater Is Dead "The Villa is south of the Utah Valley hub where these other two theaters are and probably gets the same audience as long as they aren't doing the same shows. Unless it can find something else to set it apart from the others, the competition may be too much." Marilyn speaking about the Villa--you are absolutely right. We're a bit on the fringe and definitely investigating new possibilities (more original work to avoid royalties, etc., Mormon works, more youth theatre). We had season tickets to PTC and loved it. Our only saving force is our youth program. Bill writes: There have been over ten thousand youngsters who have benefited through our programs since their inception. 30% of our revenues must come from donations. The lukewarm reviews don't help us either, (and TV and sports). Bill would like to see several different reviewers who have different points of view. But you are right, we keep plugging along. Bill says it would be a shame to lose PTC and our theatre also. Again, we do have to do something different. We are looking forward to running Eric's three one acts, THREE WOMEN, which will run for six performances Feb. 22-March 5 in our Little Brown Theatre, 239 S. Main. Please come! Previously, Bill was grateful to work with Eric in his ACCOMMODATIONS at BYU. We had 9 plays submitted to this year's play contest, and some of them look interesting and produceable. Noreen Astin, theatre PhD from BYU is our chair. A great critic! Winners will be announced shortly. The 2001 competition must be entered (postmarked) by June 30, 2001. With mortgages and the gas and electric sky-rocketing (both bills over $1,000 a month) you better believe we are casting about to do something to save ourselves! Glad for this post. Now, playwrights, is the time to WRITE! Marilyn and Bill Brown - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm ------------------------------ Date: Fri, 9 Feb 2001 23:44:03 -0700 From: "Brown" Subject: Re: [AML] Critical Terms I printed this one off to save it! Marilyn - ----- Original Message ----- From: Eric R. Samuelsen To: Sent: Wednesday, February 07, 2001 10:21 AM Subject: Re: [AML] Critical Terms (was: SODERBERGH, _Traffic_) D Michael got the definition wrong for Samuelsensory. It's not "Theatre critics suck." It's "Theatre critics suck unless they like me." Otherwise, what a fun post. I laughed, I cried . . . Eric Samuelsen - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm ------------------------------ Date: Sat, 10 Feb 2001 02:02:00 -0700 From: "D. Michael Martindale" Subject: Re: [AML] Providing Escape: A Writer's Job? William Morris wrote: > This idea of distancing the reader corresponds to D. > Michael's reference in the 'flashbacks' thread to > frame stories. Now how did my name get associated with distancing the reader? I'm against that. I don't read novels to be distanced from the character or for escape. I read them to jump headlong _into_ experiences I can't have in real life. I have no need to escape from real problems into a feel-good fantasy land. I need escape from humdrum daily life into big-time problems, danger, and action. I want to vicariously experience having horrendous choices to make, digging up extraordinary courage to face things most people will never face. Don't distance me; let me crawl into the character's shoes and go for it. > My creative writing instructor told me that you don't all > of a sudden turn off the character's pov and switch to > another pov because it's confusing to the reader. A > couple of years later I read Kafka's short story > 'Judgement' where that very thing happens in the last > two or three sentences of the story---for a somewhat > similar reason to why mine had done the same thing. That's what you get for listening to an academic tell you how to write. If it's a choice between some teacher and Kafka, guess whose judgment I'll pick. - -- D. Michael Martindale dmichael@wwno.com ================================== Check out Worldsmiths, the new online LDS writers group, at http://www.wwno.com/worldsmiths Sponsored by Worlds Without Number http://www.wwno.com ================================== - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm ------------------------------ Date: Fri, 09 Feb 2001 00:45:21 -0700 From: "D. Michael Martindale" Subject: Re: [AML] MN Cope, Swindle and Black Join Forces for Life of Christ Project: Excel Entertainment Press Release > [From Mormon-News] > > Cope, Swindle and Black Join Forces for Life of Christ Project > Artistic Collaboration Will Set New Standard in Religious Art For an instant, I thought "Cope, Swindle, and Black" was a sleazy law firm. - -- D. Michael Martindale dmichael@wwno.com ================================== Check out Worldsmiths, the new online LDS writers group, at http://www.wwno.com/worldsmiths Sponsored by Worlds Without Number http://www.wwno.com ================================== - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm ------------------------------ Date: Sat, 10 Feb 2001 11:27:35 -0700 From: "J. Scott Bronson" Subject: Re: [AML] (On Stage) BYU at ACTF On Tue, 06 Feb 2001 16:08:57 -0700 "Eric R. Samuelsen" writes: > In the audition, Shelley Graham was far and away the > best actress in the room. I called her back, and she came into the > callback audition, and absolutely nailed the character. My > playwright turned to me and said, 'that's it. That role is cast.' > And I told him 'I can't use her.' Because the character said the > F-word, and Shelley won't. We'd even talked about it earlier in the > day, and she'd said to me, 'I won't say it. I'd love to do this > show. But I won't say that word on-stage.' > > So the playwright stared at me, and he picked up his script and > re-read it. Then he turned to me and said 'I have to have her in my > show. She's the best actress I've seen in my life. I have to have > her. I'll cut the language.' And so Shelley did the part, and was, > predictably, superb. I would like to offer another testimony to the talent of that fine actress. I directed Shelley in Tim Slover's "March Tale" last Summer and was completely charmed by her ability, bravery and devotion to her craft. And she's just a dang sweet girl in the bargain. She had difficult things to do in that show -- in terms of character; walking the fine line between near-farcical comedy and near-melodramatic tragedy -- plus some rather intricate technical shenanigans that stretched her patience to unbelievable limits -- and all with a smile and a laugh and an attitude of pure professionalism. There are a handful of actors around that have considerable talent, and professionalism with no ego, but plenty of assertiveness who(m?) I would work with in any capacity with no hesitations at all. Shelley is in that group. I hope she stays in Utah for awhile ... I'm dying to work with her again. J. Scott Bronson--The Scotted Line "World peace begins in my home" - -------------------------------------------------------- "Anybody who sees live theatre should come out a little rearranged." Glenn Close - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm ------------------------------ Date: Sat, 10 Feb 2001 14:23:35 -0700 From: LuAnnStaheli Subject: Re: [AML] OSMOND, Donny, _This Is the Moment_ - --------------836CE9EFF94070E3232CCA3A Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Ah, but you see, the play and the production starring Donny itself WASN'T a failure; it was the New York critics who killed it. Most people are unaware that prior to the play's move to Broadway, the production sold out several weeks worth of shows in Washington D.C. and, I believe it was, Baltimore. The same cast took the play to New York where the critics did what critics do; they criticized. Promoters backed out, taking dollars with them, and the show closed. Anyone who has had the chance to see Donny perform live in Joseph knows that the quality of Donny's performance of Broadway music can never be questioned. He has an incredible voice, and I, for one, can't wait to hear the new album. I hope any skeptics among you will at least give him a chance to prove what he can do. Lu Ann Staheli "J. Scott Bronson" wrote: > Donny has a sense of humor. > > Shortly after the first incarnation of the Donny & Marie show was > cancelled he made a try at Broadway with "Little Johnny Jones." It was a > dismal failure. The critics killed him. Now he has a new album of songs > from Broadway shows. The closing song is from "Little Johnny Jones." > Give My Regards to Broadway. > > I think that is so sublime. > > scott > > - > AML-List, a mailing list for the discussion of Mormon literature > http://www.xmission.com/~aml/aml-list.htm - --------------836CE9EFF94070E3232CCA3A Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit Ah, but you see, the play and the production starring Donny itself WASN'T a failure; it was the New York critics who killed it. Most people are unaware that prior to the play's move to Broadway, the production sold out several weeks worth of shows in Washington D.C. and, I believe it was, Baltimore. The same cast took the play to New York where the critics did what critics do; they criticized. Promoters backed out, taking dollars with them, and the show closed. Anyone who has had the chance to see Donny perform live in Joseph knows that the quality of Donny's performance of Broadway music can never be questioned. He has an incredible voice, and I, for one, can't wait to hear the new album. I hope any skeptics among you will at least give him a chance to prove what he can do.
Lu Ann Staheli

"J. Scott Bronson" wrote:

Donny has a sense of humor.

Shortly after the first incarnation of the Donny & Marie show was
cancelled he made a try at Broadway with "Little Johnny Jones."  It was a
dismal failure.  The critics killed him.  Now he has a new album of songs
from Broadway shows.  The closing song is from "Little Johnny Jones."
Give My Regards to Broadway.

I think that is so sublime.

scott

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- --------------836CE9EFF94070E3232CCA3A-- - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm ------------------------------ Date: Thu, 08 Feb 2001 00:09:42 +0900 From: "Andrew Hall" Subject: [AML] Paxton on HOWE, _Burdens of Earth_ [MOD: Here is the column/review Andrew mentioned previously, which originally appeared in May 1997, reposted with Rober Paxton's permission.] LATTER-DAY STAGES: HOWE, _Burdens of Earth_ by Robert Paxton Last week I reviewed _Digger_, a play about a young, exuberant Joseph Smith. Susan Howe's _Burdens of Earth_ (published in the November 1987 _Sunstone_) depicts a very different Joseph, a discouraged, beaten man, weighed down by feelings of guilt for the suffering of all the Saints who have followed him. Howe tackles Joseph at perhaps his lowest point, when he was confined in Liberty Jail. And where some Latter-day Saints might feel the Joseph of _Digger_ is too flawed, not saintly enough, they might similarly disapprove of Howe's Joseph for seeming to lack faith and endurance. It's not the portrait many of us want to see of our prophets. _Burdens of Earth_ is set in Liberty Jail in March 1839. Joseph, his brother Hyrum, Caleb Baldwin, Alexander McRae, and Lyman Wight are fellow prisoners suffering the cold and the tedium. All the actors but the one playing Joseph double as other characters in memory flash-back scenes taking place in Joseph's mind: the anti-Mormon Missourians Phineas Hobart and Major Sam Burris; the excommunicated Oliver Cowdery; and the faithful but sorely tested Hanson Jacobs. The action of the play is largely psychological, as Joseph tries to figure out what sin he is guilty of to cause the loss of Zion, the suffering of the Saints, and his imprisonment. Though there are brief episodes of physical activity, such as when the prisoners dig a hole in the wall for their escape or momentarily scuffle in their fatigue and frustration, most of the time the physical movement of the play is defined by the restless inactivity imposed by the cramped quarters. But Joseph's mind ranges far and wide, across time as well as space. He is tortured by three characters: Hanson Jacobs, Oliver Cowdery, and himself. Hanson fought his own conversion, and when he finally gave up family and past to join the Mormons in Ohio, Joseph immediately sent him to Missouri, where he was beaten, his wife was repeatedly violated by the mob, and his child suffered injury and illness. Hanson cursed Joseph, and Joseph now bears the weight and blames himself for these sufferings, multiplied by the number of Saints who had similarly suffered. Oliver is the primary object of Joseph's torment. He had opposed Zion, spoken against the prophet, and was subsequently excommunicated. According to the play, Hyrum and others wrote a threatening letter to Oliver, and Major Burris and Hobart try to recruit Oliver to bring a lawsuit against Joseph, insisting the Prophet arranged the letter, even though his signature was not attached. Oliver refuses to go along without first talking to one of the signatories, and he chooses Hanson Jacobs, knowing him to be an honest man. Of course the Missourians get to Hanson first, and thus the mobbing. Joseph spends much of the play trying to figure out how he is to blame for Oliver's betrayal, and seeking an alternate course of action which he could have pursued to avoid that betrayal and all the suffering the Saints were then enduring. He is obsessive about his own guilt, and Hyrum spends much of the play trying to distract Joseph from his morbid thoughts. The emotional wrangling almost becomes tedious in its single-mindedness and unnecessary repetition. But just before it overwhelms the reader (I wish I could speak of the viewer as well, but I have not had the fortune of seeing this play produced) Howe shifts to the conflicts between the various memory characters for a welcome change. Finally Joseph is brought to himself by a realization that led to the beautiful and comforting revelation of D&C 122. This realization is spurred by an apology and a plea from Hanson, played by the same actor portraying Caleb. Caleb, not realizing Joseph has seen Hanson instead of him, then takes credit for bringing Joseph out of his depression. (Caleb Baldwin is a direct-line ancestor of mine, and I didn't find the depiction very flattering, though it is dramatically defensible.) This recovery of Joseph's, the climax of the play, suffers from a too-hasty resolution, and weakens the impact of the play. After so much wallowing in depression and despair, such a quick turnaround is not only unsatisfying, but it also strains believability. And though the language throughout the play is delightfully apt, the rough paraphrase of D&C 122 here disappoints. Nevertheless, _Burdens of Earth_ is a play well worth the investment of time or the price of a ticket. It tackles a difficult subject and a near-impossible character in a way that humanizes him. It makes Joseph accessible by bringing him into a smaller perspective, yet it manages to diminish neither the man nor the mantle. And that is no mean achievement. - - AML-List, a mailing list for the discussion of Mormon literature http://www.xmission.com/~aml/aml-list.htm ------------------------------ End of aml-list-digest V1 #255 ******************************