OREM — This stage adaptation of E.B. White’s favored children’s tale is a most entertaining show.

With animal puppets made of wire, metal and fabric that are surprisingly full of expression and personality, this story takes on a unique flavor and is just plain fun to watch.

Read the rest of the review here.

With most of the other shows I’ve been involved with at UVU, I’ve felt a strong desire to get my character developed quickly, and to really drive that character home.  I wasn’t ever really focused on much else.  This show, however, has really emphasized the vital importance of ENSEMBLE!  I have never felt so incredibly equal with the rest of the members of the team as I do now!  It really doesn’t matter at all that I’m playing “Charlotte.”  It almost matters less.  Chris is so good that way.  Not that I’m not important, or that the leads are overlooked or anything, because that’s not the case, either…it’s just that Chris tends to really treat every member of his team the same.  I get no special treatment.  And I’m glad!!!  I much prefer this way of doing things! 

I’ve concentrated this entire time on really trying to see what this show meant on the whole…it is a classic.  I didn’t see the full breadth of my character until recently, though.  I was having a hard time fully developing the many facets that make “Charlotte,” and I couldn’t seem to find someone to talk to about it, because we were all so focused on being positive, and really, everyone was too busy.  So, I reluctantly talked with my long-time mentor and friend, Dr. Katherine Farmer.  She’s now the Director of the Noorda Center, and she has always offered a fresh perspective on play scripts…the text itself.  I asked her what she thought of my character development thus far (she had been a part of several rehearsals), and she got that thoughtful smile I’ve come to love on her face.  She told me what she had been teaching her text and script analysis students (who study the book and script of Charlotte’s Web every year).  She talked about how dynamic Charlotte should be, and how important she is to the entire plot.  We discussed the differences between book and script, and determined that the adaptation (script) was poorly adapted.  It sounds like a negative thing to say, but I honestly was able to, from that point on, put a finger on the root of my problems in character development–I am used to playing strong characters.  I am.  That doesn’t mean that they are necessarily all leads, but I’ve played my share of strong characters, people who have a backbone to guide their motivations.  Charlotte, as a character and hero from the original children’s book, is an incredibly strong-willed spider who could care less about what others think of her, but who also cares a great deal about the welfare of her friends.  I wanted to play her that way.  The adaptation wasn’t really written that way, though.  I found that the only way I could portray the kinds of strength Charlotte needed onstage (because the lines didn’t afford it) was through facial expressions.  Guess what?  The puppet I use for Charlotte has no facial expressions.  None.  It has eyes.  So, the aspect of acting I have used so often and so well in the past as a crutch (facial expression) was out of the equation.  Needless to say, this became a very daunting obstacle for me, but it got easier as I discussed my worries with Chris Clark.  I asked him if there was anything he would suggest that I do to make Charlotte stronger (of course, we discussed the facial expression problem as well).   He suggested that I find some lines, actual words that Charlotte says, in the book.  He said that if I could find anything that would substitute, or even supplement the existing lines in the adaptation to make it stronger, that I was free to do it.  I was floored!!!  I found several, but settled on one line, as a supplement, to use during one of the most defining moments of the play (what Aristotle would term the “inciting incident”).  Just by adding a few lines on the end of an existing, but rather weak line, I was transformed.  It was as if I had been kicked back into the ring, and I couldn’t resist changing several other aspects of my performance, as much of a faux pa as that may be at the last minute.  I found myself being almost instantly aware of every single little nook and cranny of my puppet.  I explored every way that she could move, and made my body make the same kinds of movements it made (within reason).  Jake and Chris added two parts where we actually look up from our puppets at each other, to show a deeper connection that the two characters have.  I cry every time.  I mean it.  I’m not sure if this sounds crazy, but the connection Charlotte has with Wilbur, and the strength she has to carry on weren’t there before.  And now they are.  Like magic, I was conscious of every nuance of Charlotte’s.  She was given unstoppable energy overnight!  I have fallen in love with her way of thinking now (don’t worry—I still don’t eat insects…).  She is a force to be reckoned with.  She is one of the most powerful, gentle tragic heroes in all of literature.  She has become alive and is thriving in my heart.  I don’t think any of us will ever, ever, ever forget her.

The UVU Department of Theatrical Arts opened their 2009-10 season as well as the new black box Noorda Theatre last week.

The first production began Sept. 17 with the showing of “Charlotte’s Web,” based on the classic children’s tale by E.B. White.

“I’m excited to be working on this American classic,” said Chris Clark, UVU professor of theatrical arts and director of the play. “We’re hoping to tell the story in an innovative way.”

Read the rest of the story at the Daily Universe.

Jana Grass as Charlotte

by Lindsey Linge

 When E. B. White published the children’s classic Charlotte’s Web in 1952, it became a best-selling favorite. The story of Wilbur, a pig destined to become bacon, and his friendship with Charlotte, a spider who is set on saving his life, is full of universal themes that are important for children and adults alike – and yes, “adults” includes college students.

“I chose this one because I think it’s a beautiful, touching story that many people can relate to,” director Christopher Clark said. “I just thought this would be a great opportunity to do something theatrical with a story that so many people love.”  

And the something that was done is quite remarkable.

Read the rest of the review the UVU Review.