Choosing a show for a diversely talented cast is a daunting task. As I scoured catalogs, websites, and scripts, my mother interrupted me and asked, "Why don't you do Pride and Prejudice?" She's been an avid fan since I showed her the BBC version starring Colin Firth and Jennifer Ehle. I knew how difficult it would be to try to find a script that was an adequate adaptation of Jane Austen's masterpiece. Many of the ones I read completely ruined the beauty of her writing. When I read this verson by John Hanreaddy and J.R. Sullivan, I knew it was the right one.
Then came the challenge of hooking the students. I have a wonderful group of students, some of whom are often intimidated by the magnitude of what I expect from them. Wonderfully, many of them rose to the challenge and made it all the way through to the performances. When I announced the title, most of the students were not familiar with the story. As our rehearsal time progressed, so did their understanding of the play, the characters, and my reasoning for choosing it. One student said to me, "Every character is necessary." He realized the beauty and depth of the original story by Jane Austen and was intrigued even more so by the character he is to portray.
But why would I decide on Pride and Prejudice? It takes more than a suggestion from my mother to make me choose one show over another. I take into account the level of ability (both known and stretchable) in the students, the amount of male, female, and neutral parts in the play, and the lessons I can teach to the students along the way so that they end up better people after working on the production. With Pride and Prejudice, there are morals that are conveyed in an elegant manner. The students learned not to jump to conclusions about people or to think too highly of themselves. They also learned how to be gentlemen and ladies (something that is sadly not as much of a priority as it used to be). It was fascinating to teach the guys the art of kissing a lady's hand or helping a lady up and down stairs and to teach the girls how to sit and stand like ladies should and how to allow gentlemen to be gentlemen. The students have worked diligently, and we hope that you enjoy this production.
ACKNOWLEDGEMENTS
Robert H. Newman: His consistent support allows me to be creative. You are truly the greatest boss I have ever had. I am so thankful to be under your supervision. Thank you.
David Paul Boudwin: He keeps reminding me of the reasons why I do what I do. I would have given up a long time ago if it were not for his friendship and words of encouragement. Thank you for allowing me to vent, then gently nudging me in the right direction. You're the best!
My mother, Mary Brown, who puts up with me more than anyone else. I am sure that is one of the reasons why the Lord blesses her so much. Dealing with me during the last month before a show, especially one in which I have more responsibility than a normal director, is not an easy task.
Joyce Zahorsky, Farmer Ron, and all the gardening students--Without them, the Visual and Performing Arts department would not have the funding we have. Thank you so much. You are the reason our department is growing.
Lori McLaughlin: Thank you for keeping track of our budget. You are definitely much better at it than I am. Thank you for your patience.
All of you (parents, family members, and patrons)--Thank you for joining us and supporting the Visual and Performing Arts of Life Center Academy. May you always leave a creatively & fascinately good impact on others.
Sincerely, Sister Felicia Latoya Brown
