In his "program note" attached to the version reprinted in the November 1988 Sunstone, Lauer writes:

"This play deals with Joseph's early life and his relationship with his first wife, Emma Hale. In it, I have attempted to capture the character of the American frontier on which they lived and to explore simply and without resorting to the trappings of a religious or historical epic the first stages in Joseph's evolution from village seer to prophet of the latter days."

In fact, the play deals with Joseph's courtship of Emma while he worked for Josiah Stowell in Harmony, Pennsylvania in 1825 and 1826. As for the other elements of this statement, they are true only to a point.

The "American Frontier" of Digger is not delineated by Indians, wilderness, lack of community, or any of the other typical identifying factors. This seems a frontier primarily because it admits folk magic. At least many of its inhabitants do. Emma, however, does not; nor does Arad Stowell, Josiah's son. So the typical frontier struggles are replaced here with the struggle over belief in magical (and later prophetic) powers. In some ways it vaguely resembles the world Orson Scott Card's Alvin Maker inhabits.

If by "the trappings of a religious epic" one means organized religious sermons, formal prayers, religious rituals or ceremonies, or the presentations of a specific religious creed or doctrine, Digger avoids those. But don't assume Lauer takes religion completely out of the mix. While Act One seems to completely ignore the experience of the First Vision as an element of Joseph's characterization, he does later recount the event to Emma, in language quite different from the account in the Pearl of Great Price. Joseph also preaches at his digging partners, prays and receives a revelation on stage, discusses the merits of the Methodist sect, and obtains visions through a peep stone in a hat. In the end, Emma's mother, Elizabeth, even labels Joseph a prophet, though it is clear she believes him a false one.

Historical epic it is not either. Digger is set in one locale, with only nine characters, and blithely creates its own world independent of the sweep of events before, after, and around it. Though it acknowledges the First Vision, and plants the expectation of Joseph and Emma's impending wedding, it only hints at the potential of Joseph's future.

Far and away the most interesting and controversial aspects of the play are the characterizations of Isaac Hale, Emma, and Joseph. Isaac is, on the surface, an almost stock representation of all that "feminists" find objectionable about patriarchy, treating his wife like a slave (Emma's word). He refuses to fix the pump, requiring Elizabeth and Emma to make a long hike for water. He is also a slob, wiping quail blood on clean linens. But he wishes that Elizabeth could be more than "just a wife" to him, indicating a desire for her to be more like Emma, whose feistiness and impertinence he not only tolerates, but actually seems to enjoy. Until she announces her intention to marry Joseph.

Emma's feistiness, shrewishness in fact, is her defining characteristic in the first act. Her notions of women's roles are so decidedly late twentieth century that she is almost unbelievable as a nineteenth century character. That false sense is mitigated later by her conflicting emotions and perceptions of Joseph, and the confusion he engineers her into. In the end, she becomes a very strong female character, rich in ambiguity. And though the contrast is sharp, Emma's "coming of age" also reveals Elizabeth to be more than what she originally seemed.

If either Isaac or Emma require willing suspension of disbelief, it is nothing compared to the pre-conditions one must accept in order to buy into Joseph, beginning with the contradictions in the way Lauer describes his first appearance:

"He is nineteen years old, six feet tall with blonde hair, penetrating blue eyes, a beguiling smile, and pale white skin which somehow adds rather than detracts from his appearance. He stands straight and tall, moving in a princely manner despite his ragged work clothes, poor speech, and generally poor appearance."

Yet hese contradictions pale beside the conflicts between this character and the official historical records. This Joseph not only consciously manipulates people (he manufactures a vision in order to convince Josiah to abandon the gold-digging), but is decisively cruel at moments. He harshly denounces and dismisses his long-time companions for reasons unexplained and undramatized. Further, all the other characters assume that he is unchaste many times over, and the play never offers a defense or a denial, though it has plenty of opportunity.

On the other hand, Joseph is shown honestly transfixed in a revelation, which greatly disturbs and intrigues Emma, who happens upon him. His First Vision is treated seriously when it arises, even though it doesn't seem to inform his character through great parts of the play. Josiah and others honestly believe in Joseph's gifts, and even Emma comes to find some measure of honesty in them.

Over the course of the play, Joseph grows closer to the boy who might actually pray for forgiveness prior to Moroni's first visit, though still not there by the end. I find myself wishing that more of the growth occurred onstage instead of between scenes. Even so, Joseph is a very dynamic character, and a peach of a role for any actor.

Perhaps this Joseph is more accessible to the non-believing actor than most portrayals, since the structure of everything Mormon isn't a pre-requisite to understanding the character. At that, the play as a whole might be more palatable to non-LDS audiences than most Joseph Smith plays. A good many Mormons might wonder at the impression of Joseph those audiences would take home with them, however.

Robert Paxton
<rpaxton@infowest.com>

------------ 
Robert Paxton, his wife Tryn, and their two boys are spending the month in
Cache Valley, where he is directing a play, writing, vacationing, and
enjoying a place much greener and cooler than St. George.