remarkable impersonations in Mother Wove the Morning. I know Thomas F. Roger's Huebener only as text; I missed last year's performances in Provo, which I understand theatre-goers stood in line to see, a reprise of the scene at its opening at BYU in 1976 when, with Ivan Crosland directing, it became an event, a "happening." It's my loss, because on the page Huebener is powerful. The play centers on a young Mormon convert in Germany who dared to oppose Nazi anti-Semitism and, like Antigone, finds himself caught on the horns of an ethical dilemma, "caught between the obedience he was taught he owed authority, both civil and ecclesiastical, and the dictates of his conscience" (Rogers v). Performances left their mark not only on audiences but on the performersthemselves, as Margaret Blair Young tells us in "Doing Huebener," which looks behind the scenes and asks some searching questions about the rewards and hazards of undertaking something so controversial that ten years ago the Brethren prevented it from being performed elsewhere (127-32).
Rogers, who favors Euripides over Sophocles in his probing of character, studies the fate of John D. Lee, "a more ambiguous martyr," in Fire in the Bones, first produced in 1978, (which I was lucky enough to catch in a strong reading performance at the May meeting of the Utah Academy of Sciences, Arts, and Letters in Cedar City, the geography not lost on those who know the history of the Mountain Meadows Massacre). Both plays, explains Rogers, "suggest to what extent the rest of us