UNIVERSITY THEATRE MORALITY PLAY OPENS TUESDAY

Death:

Everyman, it may not be by no way;

I set not by gold, silver, nor riches,

Ne by pope, emperor, king, duke, ne princes.

For and I would receive gifts great,

all the world I might get;

But my custom is clean contrary.

I give thee no respite: come hence, and not tarry.

Considering the moral and cultural mine fields modern theater attempts to negotiate, the time might be right for a simple story with simple values.

"Forrest Gump" has been done, but next week the University Theatre will present the classic medieval morality play "Everyman."

Morality plays evolved in the Middle Ages. Following on the heels of the miracle plays about Catholic saints, these were secularized attempts to teach similar religious lessons.

"They were allegorical dramas meant to educate and elucidate by using highly symbolic characters," says Robert W. Dillon Jr., an assistant professor of theater at Southeast Missouri State University.

"Everyman" will be presented April 4 through 8. The one-hour drama will begin at 8 each night.

"Everyman" belongs to a genre that minimizes sets and costumes and spotlights its lessons in rhymed dialogue.

Like other morality plays, "Everyman" does not mince its message. The character who represents knowledge is named Knowledge. Death is Death.

The time -- only a few of the words are archaic -- and location are universals.

"It's not just `Everyman,' it's Everyplace," Dillon says.

The author of "Everyman" is anonymous because all art at the time was supposed to be created for the glory of God, not the self.

"Playwrights weren't free to express their world views," Dillon says.

Andy Pratt, director of the Baptist Student Center, and the Rev. J. Freedell of the Newman Center have been schooling the cast in the religiousness that produced "Everyman."

The plays were performed in the great halls of castles, in public squares or on the steps of churches. The University Theatre productions will be presented in Old St. Vincent's Church.

Audiences may find the experience of watching a play in the church disconcerting at first, Dillon says, because not everyone will be able to see well.

"It's a lot like going to a wedding or a funeral," he said.

Audiences also may have to adjust to this production's concept of God. Dillon doesn't want to give the play's surprises away but says, "Our God is not a disembodied voice."

"...We're not trying to be politically correct. We're just trying to find the truth in the thing."

The point of "Everyman" is not to exalt Christianity or any church, Dillon says, though priests come off rather well.

The point is to ask the question, What's actually valuable?

"(`Everyman') expresses values that I hold dear," Dillon says. "...I'm real interested in my own life in discovering ways to heal people's brokenness and my own brokenness.

"It's getting beyond wealth and status and power to something more human."

If Everyman is the play's protagonist, Death is its angelic villain.

"We are all confronted with death," Dillon says. "The problem is to live within that knowledge and with that knowledge and not become a pessimist."

In the end, Everyman does discover what's valuable. "That's what everybody's struggling to do," Dillon says. "And it's a bloody horrible struggle."

"...Our culture is mired in a lack of spiritual values," he says. "This play shares something of spiritual depth and importance with the audience."

Though its references are Christian, the play actually is based on a Buddhist parable.

"`Everyman' speaks to people no matter what their religious tradition might be," says Dillon, who is a Buddhist.

He finds an appropriateness about actors and actresses performing in a church, pointing to the theatricality of most church services.

"For us the theater is a kind of church," he says. "The best I can do (as a director) is express truths that are sublimely human."