The motivated, entitled Elder Price and the bumbling, compulsively dishonest Elder Cunningham arrive in a small Ugandan village to preach the Book of Mormon and immediately encounter third-world problems that threaten Price's dreams of gospel grandeur and Cunningham's hopes for paternal redemption. This leads to the villagers' first musical number, "Hasa Diga Eebowai," in which they teach the Mormons that their typical method for coping with their insurmountable challenges is by saying "Fuck you, God" in their native dialect. Before learning of its literal meaning, Elder Price and especially Elder Cunningham really get into Hasa Diga Eebowai as a form of catharsis. Their problems have not been diminished, but, as Mafala advises, "Having a saying makes it all seem better!"
As the story progresses and the missionaries begin to convert the Ugandans (with plentiful help from Elder Cunningham's infusing of Mormon-friendly pop culture into scripture), the musical actually explores the concept of how much help a philosophy can provide, whether it's true, whether it's false, or whether it's just a saying. Unlike the missionaries, the Ugandans generally interpret Mormonism as highly metaphorical, using the stories taught to them as parables that promote peace, community, and civility—as well as examples that discourage the kind of negative behaviors that you wouldn't expect to be mentioned so casually in a theater production. Ultimately, Hasa Diga Eebowai has the same direct material benefits as the metaphorical gospel (none), but the saying doesn't inspire the village in the same way, which is why Mormonism becomes a uniting force that helps them not only to cope, but to overcome.
Some of the characters' personal struggles deeply affected me. Elder Kevin Price's confusion when the world doesn't work the way he expected based on a lifetime of Mormonism-colored glasses was, obviously, very relevant to my life. But as Nabulungi sang "Sal Tlay Kasi Ti," expressing her hopes and dreams for how the missionaries' teachings and plans could solve all her problems, I started to tear up a little. This song is the most important indictment of the metaphorical gospel. Nabulungi may be one of the few Ugandans who doesn't assume that Elder Price's and Elder Cunningham's stories aren't meant to be literal. For most of the production, she's the example of how dangerous it can be to sell someone a fantasy when that person doesn't know it's a fantasy. Most of the villagers get into Mormonism enthusiastically, embracing the cultural values of community and "being really fucking polite to everyone" without placing too much emphasis on the factual veracity of Joseph Smith and the Book of Mormon—and the gospel does them a lot of good as a result. Nabulungi, however, believes that Elder Cunningham is going to whisk them all off to Utah where they will be accepted and happy and free from fear and from poverty and from sickness. She's crushed when none of that happens.
In this and other ways, a show that is ostensibly a lampooning of the religion actually displays a surprisingly nuanced balance between the possibilities for both good and bad fruits of Mormonism. The missionaries, for example, exhibited a core of wholesome Christian faith and an earnest desire to serve, but there was also plenty of mockery of their less palatable beliefs and many nods to the Mormon tendencies toward naivete, repression, and an intricately selfish brand of altruism.
This balance was mirrored in the hilarious depiction of Joseph Smith, who came off as an obviously idealized caricature indicative of Mormon propaganda. He was presented with such an over-the-top, swaggering confidence with a thousand-watt smile and glorious golden hair. But this corny bravado was juxtaposed with Joseph's singing voice, which sounded strained and thin. He sounded as though he were trying too hard to be something he's not, like an amateur singer with a whiny, high-pitched voice trying to sound rich, deep, and well-trained. And, of course, the swagger and the idealization was also balanced by the fact that many of Joseph Smith's exploits were presented to the audience as absurdities.
But, by the time the curtain fell, a musical so peppered with disrespectful humor showed an even-keeled maturity toward its subject matter. Though it mocked, it could have been much more cruel and it ultimately represented many of the benefits and virtues of Mormonism. The power of the metaphor was a strong central theme and probably intended to be the primary takeaway for the viewer. As an ex-Mormon, I was given plenty of food for thought as well. I'm convinced that I'm right about the church and that Mormon believers are wrong, but the production left me pondering the concept of personal priorities. My priority has come to be truth, but others value belief or community. I don't have the same problems that other people do and I should learn not to judge people who have different priorities or different interpretations. My definition of happiness is only my definition. Even though Mormonism has some wild and damaging beliefs, how am I supposed to argue that my happiness is more real or more legitimate just because my priority is truth? Those who've learned the truth and choose to stay aren't necessarily suffering from a logical short circuit. They may just care about slightly different things than I do. They may be inspired by the metaphor. They may be dedicated to the community. They may be hoping to help adapt the church's teachings to address present-day problems (although I'm sure they'll do it more adeptly than Elder Cunningham did). It doesn't make me better than they are and it doesn't make them less happy than I am.
Though I of course plan to continue opposing the aspects of Mormonism that I believe are wrong or that I believe have a negative impact on the members or on the world, I should not dismiss the value of Mormons' beliefs. Their struggles are different from my own, their priorities are different from my own, and there is enough good in Mormonism that, for some people, the church may be exactly what they need.
Although it's still pretty weird that the Garden of Eden was in Jackson County, Missouri.
My wife and I saw the play when the tour came to Salt Lake City and loved it. The music is great. As a returned missionary, I was amazed at how well they were able to pretty much nail what missionaries are like.
ReplyDeleteI need to point out, though, that God doesn't live on Kolob but rather a planet NEAR Kolob. And no, my nickname does not mean I'm a follower.
I recommend people go see it but be aware it has the F word in it a lot, at least 49 times according to a quick Google search. That's probably about right.
As we were leaving and out on the street, we noticed 5 young men who looked to be college age all dressed up as missionaries with white shirts and fake name tags. She asked them if she could get a picture with them which they were kind enough to pose for while I took it. When we returned to our car, a thought came to me. The church is losing some pretty amazing people like, I assume, those you men, you, my wife and kids. We've lived in my neighborhood over 20 years. When we arrived, almost all of the homes were active member homes. That has really changed. I bet it's now quite a bit below 50% and getting lower all the time.
I think it's awesome that the show was able to do well in a place like Salt Lake. I'm far from Utah and I'm not plugged into any Mormon circles beyond my family, so I rely on others' scraps of information when it comes to how many members the church might be losing.
DeleteThe music is really good, too! I've been streaming the soundtrack on my way to work lately and it's good stuff.
...despite some inaccuracies like the Kolob issue, it really does nail Mormon culture and the Mormon worldview in a mocking but oddly charming way. I felt like it danced on the line between funny and mean-spirited but didn't go too far. I'd recommend it too, for anybody who doesn't have a problem with a whole lot of strong language.
The run in Salt Lake lasted several weeks last Summer, and the performance we attended was sold out in the Eccles Theatre that seats around 2,500 people. We were on the front row of the top balcony and paid $80 a seat. The better seats were several hundred. Needless to say, it did really well. Plus, this wasn't the first time it came to Salt Lake. The audience was awesome, because most of the people picked up on everything that would probably go over a non-Mormon's head. It was nonstop laughs.
ReplyDeleteI agree with your last paragraph, and to be honest, there really weren't many inaccuracies. Those were minor. I mean, most Mormons would say God lives on Kolob not on a planet near Kolob. I also agree that, at least for my wife and me, it didn't cross the line, but I'm sure it would for a TBM like her mom, a couple of her sisters and a couple of her brothers. The same for my siblings as well.
I hope it comes back. It would be really fun to go again.
Yeah, I'd definitely see it again too!
DeleteI think most of the inaccuracies were for the sake of better storytelling (like how the missionaries went to the MTC first, then got their calls, and were assigned companions for the whole two years). Others I'm not sure about, like Joseph Smith's claim that paradise was on the west coast. But overall, it was pretty accurate.