With support from the Willes Center, 15 BYU–Hawaii students traveled to Edinburgh, Scotland, to perform STAY, an original contemporary Polynesian musical written by Dr. Michael Morris, an assistant professor teaching theater and business, to learn about cultural entrepreneurship.
The story follows a young woman named Lola as she spends one night wrestling with questions of faith, identity, and family relationships. “Throughout the story, her ancestors are constantly present, creating a blend of traditional and contemporary Polynesian culture,” shared Morris. “At its heart, it's a story about experiences we all share as we try to discover who we are and what matters most."
Onstage in Scotland, the cast gave it their all, sharing their culture and inviting the audience to ask the same deeper questions about who they are and how they can connect more fully with themselves and others.
This is Me
Performing alongside the students, Morris also wrote an additional musical of his own called Black Russian. This solo act expresses Morris’ experience serving a mission for the Church in Russia, his conversion to The Church of Jesus Christ of Latter-Day Saints, and his personal journey of understanding his identity as a Black Latter-day Saint.
“Solo performances are very common at the Edinburgh Festival Fringe because many of the venues are small and unconventional,” he said. “Since I was already attending, I wanted students to see what it's like to create, market, and perform that kind of production.”
Bringing Stay to Life
After navigating the legal process, Morris secured the rights to integrate the Church’s EFY music into the play. "I love the youth music of the Church, and I think its messages are uplifting,” he said. “Integrating those songs into the story was a unique creative challenge. I teach playwriting with a strong emphasis on adaptation, so I wanted to put those principles into practice. I'm also not a composer, so this time I chose to work with existing music after receiving permission to use it.”
He didn’t do it alone. Students left their own impressions in the production: adjusting choreography, suggesting music, recommending revisions to lines and delivery, and in other ways throughout the whole process. Their input helped ensure cultural authenticity, as students were relied upon to keep the musical grounded in the cultures it represents.
When asked what he hopes the students will learn from this experience, Morris said, “Learning isn't only about gaining knowledge; it's also about changing the way we think and feel. I hope students leave with the confidence that they can create new things and introduce them into the world.”
He wants them to understand that they can create cultural and creative products, that they can bring those dreams they have to life, and that they all have something important to contribute.
Before Scotland
Months before boarding a plane to Scotland, the cast had already invested hours into rehearsals, collaboration, and preparation. For many of the students, the experience became just as much about personal growth as it was about preparing for an international performance.
For Tuai Tuaina, a freshman from Samoa majoring in health and exercise science, the opportunity offered a chance to share his own culture while learning from others. "Growing up in Samoa, I knew my own culture well. Since coming to BYU–Hawaii, I've had the chance to learn about many other cultures, and that has been a beautiful experience. When I heard about the festival, I saw it as an opportunity to learn even more—not just about Polynesian cultures, but about cultures from around the world. I wanted to experience different cultures, understand how other people live, and share my own with them as well."
For AmeliaLola Morgan, a sophomore from Utah majoring in vocal performance who portrays the musical's lead character, the collaborative nature of STAY made the experience unlike any production she had previously performed in. "We've had a lot of say in what happens in the production and what feels authentic—not only to Polynesian cultures, but also to ourselves as young adults and as members of the Church."
Morgan added that the emotional themes of the story also became deeply personal as rehearsals continued. "Some of the themes connect with things happening in my own family life right now, which has been difficult. At the same time, it has helped me connect more deeply with Lola, the story, and the message we're trying to share."
The Experience
The students performed in BYU–Hawaii before taking the stage in Scotland. Mataiki Le Brun, a junior from Tahiti majoring in finance, noted the difference between how the musical was received by audiences. “When we performed here, there were certain moments when people would laugh, but that wasn't necessarily the emotion we wanted to communicate," he said. " In Scotland, it was different. Throughout the performance, we could really feel that people were experiencing the emotions we wanted them to feel. They were very engaged and supportive.”
This experience really shifted Le Brun's perspective on performance as a whole. The festival was filled with people from all around the world, and that worldwide magic shone throughout the streets of Edinburgh. "One thing I learned is that you don't have to have everything figured out before you start something. People there aren't afraid to take risks. They go out into the streets, share their talents, and create opportunities for themselves," he shared. "I'm the kind of person who thinks, ‘I need to be perfect before I can start something.’ But in Scotland, there were so many people from different cultures and backgrounds who came to the Fringe simply to share their talents and what they had to offer. They created something beautiful."
All these things played a role in teaching the students the business side of production.
"I learned a lot, especially about entrepreneurship," Le Brun said. "I'm currently studying Finance, and sometimes understanding the business side of things can be intimidating. But being there and asking questions to people involved in entrepreneurship helped me understand how marketing, business, and creating something valuable can work together."
Seconding that sentiment, Morris said that the students weren’t just overseeing the process of entrepreneurship, but they observed, engaged, and became a part of it.
“Our time in Edinburgh gave us daily opportunities to solve problems creatively with limited resources, working toward our goal of sharing our new musical with audiences while competing with 4,000 other shows," Morris shared. "The students didn’t just observe entrepreneurship—they became cultural entrepreneurs in real time, on the ground, building something new.”
Taking Shape
The Edinburgh Festival Fringe provided an opportunity to learn, take risks, and connect with people from different cultures and backgrounds. The experience also encouraged a greater appreciation for cultural identity and the importance of sharing it with others. As the students return to BYU–Hawaii, the lessons and experiences from Scotland can continue to shape how they approach future opportunities.