I have written two LDS History plays, one called Friends of God (about the events leading up to Joseph Smith's martyrdom) the other called The Fading Flower (about the conflict surrounding the LDS/ RLDS schism about polygamy, especially as it related to Joseph and Emma Smith's family). I was criticized by some people for writing the plays (one family member even told me after seeing the play, that he thought I was going to go apostate). Some people thought that the plays brought up too many uncomfortable facts in Church history. They thought that presenting a less than ideal image of Church figures would be damaging to people's faith. And, truth told, there are some people I know who struggled with both plays.
The irony, of course, is that I wrote the plays to build up faith rather than tear it down... I consider the plays to tell the faith of people who struggled, but were ultimately redeemed by those struggles, either in this life or the next. The plays clearly state God's reality and love and show the Church's leaders as inspired, although not perfect. I addressed hard questions, but I also believe I presented answers to those questions, if people were willing to put aside their prejudices and preconceptions. And that, more often than not, proved to be the case.
I had one actor who had gone inactive until he was in Friends of God and then decided to go on a full time mission as a result of being in the play and the Spirit he felt in being part of it. The plays opened up conversations with less active, former member, and non-member friends. I had numerous people come up to me (sometimes in tears) telling me how the play addressed issues they had been struggling with for a long time and that it had answered their prayers. I had people who came with thoughtful, faithful, spiritual experiences and we rejoiced together and were edified together. Both sets of casts, especially, felt spiritual uplift and a sense of mission with each play, even to the point where we had spiritual experiences in feeling presences and angels assisting and participating with us in our work. I won't go into too much detail there, for its sacred ground for me, but I felt spiritual assistance in bringing those plays to their fulfillment. Again and again, I felt why the Lord had spurred me on in these projects.
However, there was one instance where I doubted myself on this front. The Fading Flower was accepted as part of BYU's "Writers/Dramatugs/Actors Workshop," which workshops new plays before producing a staged reading of the piece (I was excited about this since I wasn't even a BYU student). The play, which deals with some pretty heavy historical realities, especially regarding the practice of polygamy in the 19th century by the LDS Church, hit a couple of the students pretty hard.