Musical called Abinadi Opens at BYU
by Meredith Ryan Taylor
Abinadi : A Musical Drama by M. Ryan Taylor. The Brigham Young University Opera Department will be performing "Abinadi" in conjunction with the BYU Philharmonic Orchestra the latter half of October in the De Jong Concert Hall on BYU Campus. October 22-23 will be preview nights (all tickets $5). The show will open October 24-25, and will also play on the 29, 31 & November 1. Tickets for these performances are $12 ($9 with a student ID). Tickets are available by calling (801) 422-7664.
"I have a vision of artists putting into film, drama, literature, music, and paintings great themes and great characters from the Book of Mormon."
-President Ezra Taft Benson, "Flooding the Earth with the Book of Mormon," Ensign, Nov. 1988
My brother Myron brought this back to my attention last week. I had quite forgotten this statement by President Benson, though it had at one time been an important catalyst for the quest I would later undertake. I can't remember when I first heard these words, but they may have sunk in on my mission to Pocatello, Idaho as I studied the gospel and tried to serve the Lord and my fellow man.
I had long been writing songs (not very good ones I'm afraid) that focused on the preoccupations of my young mind, yet in preparing for my mission, and while in the mission field, I began to try to write a different kind of song, a spiritual song. During this time I was introduced to an album entitled "From Cumorah's Hill." I found this short work for soloists and choir by Steven Kapp Perry very inspiring. It was different from most of what I had heard in the LDS music scene at that time and it gave me great hopes for the future of LDS music. While retaining an element of pop, this cantata was well thought out, fairly unified and was able to illuminate many important themes from the Book of Mormon.
Musical theatre had been an important part of my life while growing up. We watched a lot of the old movie musicals when I was a child and in my adolescence I became involved with high school productions of Fiddler on the Roof, Oliver! and Damn Yankees! Like most theatre people of my age and time, I fell in love with the musical Les Miserables and my school chamber choir (the Troubadours) even put on a musical review of the show at the end of one year. That show (which is really an opera in disguise) has been a touchstone for me ever since.
In the fall of 1997 (after my mission, some work and community college), I transferred to Brigham Young University with a scholarship in vocal performance. I came to BYU because I wanted to make a contribution to music for "the Saints" and I figured there was no other place to go to make the connections I would need to do that. Part of the vocal department's curriculum at BYU emphasized an address given by President Spencer W. Kimball entitled "The Gospel Vision of the Arts" (Ensign, Jul. 1977). The address makes particular mention of the role opera, oratorio and film should play in the building up of the Lord's kingdom. It was in this year that I began to write "art songs" and received some encouraging remarks from my voice teacher, Dr. Lawrence Vincent, the new head of BYU opera. With newfound encouragement I began to dream.
Dreams are, of a necessity, the first step of any enterprise. We must ask "what if?" in order to reach any goal or complete any quest. I wanted to do something that would combine my past talents and experience with my love of the theatre and the gospel. So I asked: What if I were to take the inspiration and message of a work like "From Cumorah's Hill," combine it with the dramatic sensibilities of a work like Les Miserables and then merge in musical sensibilities of the great operas of the past?
I began to answer this question by searching for a possible subject. I was not aware that others had tried to dramatically recreate a story from the Book of Mormon outside of the great Hill Cumorah pageant (there seem to be a lot of musicals about pioneers). I thought about Nephi, Alma the Younger, and Helaman, but in the end, I decided on the story of Abinadi. It is a story of inherent drama and the Book of Mormon provides, in this case, a quite detailed account of the events surrounding Abinadi's mission and ministry. The story also presents an interesting antagonist and a story of redemption, as in the case of Alma the elder.
I set to work on the script; writing mostly between classes, homework and during the short breaks my school schedule would allow. After getting reviews from my family, roommates and other peers, I finished a rough draft. As with most dramatizations of scriptural events, I found it necessary to fill in the gaps. Most of the additions to my script come in the form of women. Still, I did my best to remain true to the story as found in the Book of Mormon and true to the message that redemption comes through Jesus Christ.
With the finished libretto in hand I applied for a BYU ORCA grant (Office of Research and Creative Activities). Though the thousand-dollar grant could never cover the actual cost in hours spent working on the music (I really had no idea what I was actually getting myself into), it did help jumpstart the process and I am grateful it was there to help me. Also, in the dark hours after my father's death, it helped me press on with the work, for I had promised to finish it and I felt I must keep that promise.
So, as I worked on the music I revised dialogue, added arias, and changed this thing and that. Off and on for several years I worked on the score (again, mostly in between classes and during summer breaks). In time I graduated from the Vocal Performance program, and applied to the Master's program in Musical Composition. As a masters candidate I continued to work on the score privately, on the side of my formal studies. It was in this time that I took a wife (or she took me, either way, we are both happy about it).
Dr. Vincent, of the opera program, continually expressed an interest in producing Abinadi since he first learned that I was working on it. This was another of the things that helped keep me going when it seemed I could never finish. So, when I finally did finish the piano score, I presented him with a copy and waited. As I was finishing up my Masters at the end of 2002, I chanced to meet him walking in a hallway where he informed me of his intent to produce Abinadi in June of 2003 in a workshop production.
At this time the real work began. I set about revising and improving the score and the story. Many things changed, I believe for the better. Putting on the show and being involved with the production process from the beginning was invaluable. The show continued to be refined throughout the workshop and the performances went well. For the most part the show was enthusiastically received. I received a good amount of valuable feedback.
A decision was made to produce the opera again in the Fall on a large scale. KBYU TV will be taping the event for future broadcast on BYU Television. With the new feedback and a new goal, I made some additional revisions and set about orchestrating the work (the fall performance will be in conjunction with the BYU Philharmonic). By summer's end the orchestral score was complete. Rehearsal began late in August. There will be two casts, and in one I will be playing the role of King Noah (which I also played in the workshop). I am excited and looking forward to the culmination of this five-year effort. I hope it will afford me the opportunity to produce new and even better productions in the future along these same lines.
All in all, I believe I have accomplished (with the help, feedback and assistance of many people) what I set out to do: write a gospel-based "musical drama" that is concise, moving and to the point (the show runs about an hour and forty minutes). It is my hope that the show will provide good spiritual, mental, and musical food for the audience and that those who come away from it will feel well fed in all those aspects.
I also hope Abinadi will inspire other musicians, dramatists and artists to perhaps write greater works in the future based on the principles and stories contained in the Book of Mormon. I believe that anyone with a similar desire to serve God and his fellowmen could do much to add to our artistic heritage. I believe that talent = desire and determination, and that if people are willing to invest themselves in the work, God will make them strong and able. I believe that if you show this determination and rely on God, that doors will open up and opportunities will present themselves. I think these principles really apply to any way in which we try to build up the kingdom of God. I focus on the arts because of their community building power. The arts unite us as a group with a shared experience, as in the case of the hymns, they makes us one.
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Meredith can be reached by email at meredith@abinadi.net
More information can be obtained at http://abinadi.net
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