This past weekend, I attended a performance of Michael MacLean's The Ark. This is the first Mormon musical I've seen in probably more than a decade. And while I was pleasantly surprised by how sophisticated MacLean has taken the genre, I was also deeply disturbed by a few things. Don't get me wrong, there is much to like about this play. The acting was very good, the singing was wonderful, the mise-en-scene was delightful, and the humor was infectious (especially the jokes about the Prophet Noah knowing about computers). In fact, if it weren't so good, the negative things wouldn't have bothered me so much. In fact, I would have dismissed the whole thing entirely and never bothered writing a review. However, when a production of this calibre falls short, those shortcomings become more evident and troubling.

First, I noticed in the program notes that MacLean had the production critiqued by a group of Broadway professionals. He stated that their comment was that the show must be first and foremost entertaining -- that no audience wants a Sunday School lesson. And while much of the performance -- especially the first half -- was indeed entertaining, I felt like the second half had the same preachy didactic tone as a Seminary video. I began to wonder whether we will ever be able, as a people, to create a production with Mormon themes without it being didactic and preachy. I also wondered about the faith of a people who need that faith reinforced every time they watch a play or view a work of art. Is this a manifestation of insecurity in our faith?

Second, I was offended (and it takes a lot to offend me) by the fact that MacLean has two priesthood blessing set to music. To me, it was nothing short of a desecration of a sacred ordinance. I think if he'd had Noah give a different gesture when he gave the blessing -- made it look exotic or unique -- I would not have found it offensive, but the way the scene was produced seemed equivalent to setting the Temple ordinances to music and putting them in a play.

Third, and most disturbing to me, MacLean perpetrates the Mormon folk belief that Ham's wife, Egyptus, was black. There is absolutely no evidence in the Abraham text for this belief (see Nibley's Abraham in Egypt p. 134 if you want a better authority on this than me). And while I know MacLean took many other liberties with the Genesis/Abraham text that I find perfectly acceptable, I found it very troubling that MacLean included this, especially since he didn't bother to make the other cast members look Middle Eastern. Don't get me wrong here either, I do not believe the play is racist -- in fact, the woman playing Egyptus is by far the most talented member of the cast and the character's role is very strong and likeable. (Although I did notice that while the other couples kissed, the interracial couple -- Ham and Egyptus -- never do.) So while I really enjoyed the role MacLean created for Egyptus and thought the actress did a fantastic job, it is time for this myth to be put away. Race is NOT an issue in this narrative, and since the Church no longer has a ban on black men holding the priesthood, there is absolutely no justification for continuing this folk doctrine.

Overall, MacLean's production was witty, delightful, well-acted, and very professional. However, whatever you do, do not let MacLean's production substitute for doctrine. That could be dangerous. Plus, if you leave at the intermission you'll won't be clobbered over the head with a message that is seems trite and overly simplistic, and you won't have to witness the desecration of sacred ordinances.

--Boyd Petersen

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Boyd Petersen               *        Adjunct Faculty, Honor's Program
515 South 900 East          *        Brigham Young University
Provo, Utah 84606           *        bjp45@email.byu.edu
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Promoter, Timpanogos Intimate Concert Series