EMU's theater history runs through Landis

Photo by Heather Nyce

Professor of English Jay. B. Landis has been on EMU's faculty for over 49 years.

Interest was always high. Public performance often invited an outcry. So says J.B. Landis, the acting trailblazer, in reflecting on the history and development of theater at EMU.

In the early 1950s, there was much apprehension by Mennonites towards theater. "...as it was the case anywhere in a Mennonite setting. Theater is not embraced, especially by the church leaders," said Landis in citing the reason EMC did not have a theater program or class before the 50s. One golden rule that Landis seems to find in objections was "Don't lie. Acting in truth is a lie, they could not allow it."

When Landis was a student, watching and performing plays were frowned upon, other than the occasional skits and poetry reading by students. Landis remembered that the only venue that students in the early 50s could come close to theater is through the literacy society that was well attended by students and the community. Even then, the restrictions were clear to them. There were no costumes; only a coat or drapery over the student's actual clothing were allowed. A play could not be "performed" as such, but only read, as if it was a literary writing.

Prohibition of theater seemed logical to some at that time because theater is really a lie. Landis recalls, "It is an obstacle for them (Mennonites), to have people (actors) that are not honest." Compounding the problem was the assumption that a person's character could potentially overwhelm and overtake an actor's personality; acting was not welcomed. However, the emotional yearning that is fulfilled only through the verisimilitude of a theater performance was left unfulfilled through stage readings.

Landis admits he played a part in bringing theater to EMC's front door. "I am probably guilty of sliding theater under the door," Landis confessed. The first publicly attended theater production EMC ever had, Rudolf Besier's "The Barretts of Wimpole Street," was not even billed to be a theater performance. Landis described how in 1959, he prepared for a class presentation by the English class seniors for the equivalent of the school prom. He assigned the students a play and roles that was to be ready by the spring prom.

The seniors of the class were not about to do a stage reading, though. Instead, with minimum lighting and a scenery backdrop, they performed a dramatic performance that pleased many. The performance venue-the recital hall at Lehman auditorium--was fully packed. At the first Monday after the performance Landis would discover that the size of the crowd got him in trouble with the administration. He later realized that even though the play was only meant to be for students and the campus community, word of mouth spread to bring parents, friends, and community members to the packed building.

The Monday after the performance Landis was called to the president's office, where he found John Mumaw concerned over how it became public. Landis was surprised that the administration reaction was not against the performance itself but the public awareness of it. Landis cannot recall what defense he gave for the play; he only remembers he had to "toe the line" very carefully from then on, fully knowing that his job could be in jeopardy.

Then in 1965 Myron Augsburger became president, replacing John Mumaw. Radical changes were then accepted by the young new president, a charismatic leader only 35 years of age. Short pants were permitted for boys during sports, women were not forced to wear coverings, and probably most important for the performing arts was that students were no longer bound by only using drapery as costumes, but were allowed full use of stage costumes.

Landis, the only faculty having any training remotely close to theater, felt that his abilities were limited by the training he had. Augsburger recognized this, and in 1968 he sent Landis to study theater for a year. "I took classes in acting and directing, which started the first ever dramatic arts class at EMC." In 1969 EMC offered the first dramatic arts class, careful to even choose a name for class. Ample warning was given to Landis though. "I was told to not let things happen. Don't be offensive."

However, as theater has always demonstrated around the world, good theater always pushes the boundaries. In Landis' case, it was the restricting social norms that he pushed to the edge. In "The Spoon River Anthology," two actresses lit up a smoke. In "Euripides' Medea," the criticism to the acting roles was fierce. Certain members of the community rejected every premise of the play, from having a witch to the killing of a baby. Landis, who kept the letters, said, "It comes back to believing ...they cannot imagine and accept drama for what it is, holding the mirror up to nature."

Asked about how he thinks theater has progressed since its inception, Landis described the current theater program as "much more advanced. I'm supportive of the theater program and applaud their efforts." Landis also added, though, that his primary interest in teaching now lies on the other side of dramatic performance, the literary side and not the performance side, saying, "It's not my cup of tea. Nobody knows how much time is spent to make good theater. Nobody."