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This very special event is free to the public, and is part of an ongoing outreach program series by Star Plaza Theatre and the Northwest Indiana Theatre Alliance. This particular session is a question and answer forum, giving incite in to the film world, and how to make it big in Hollywood. BARRY BLAUSTEIN is one of Hollywood’s most famed screenwriters, as This is the second in a series of opportunities sponsored by the Alliance, bringing entertainment icons and the public together, allowing the public to meet, question and gain knowledge from show business insiders. The Northwest Theatre Alliance is composed of Star Productions, The Towle
FROM "THE BLAST" DECEMBER 2009 Putting “Community” Back into Community Theatre by Donna Rettew At the mention of “community theatre,” many thoughts come to mind, including the obvious . . . a group of volunteers working together to produce a theatrical piece of living art. At this special time of year, however, something else springs to mind. Anyone involved in a volunteer organization quickly discovers that when one member needs help or suffers in any way, the other members usually pitch in to help alleviate the symptoms. Community theatre is no different. What separates it from other organizations, though, is its’ multi-leveled ability to touch people’s lives. This is seen usually on the practical and physical levels, but community theatre can touch the emotional level, as well. “Seven years before Lockerbie, my fiancé passed away,” revealed Stephanie Naumoff of Valparaiso, referring to Genesius Guild’s The Women of Lockerbie performance a year ago. “I had still not truly broken down or dealt with the loss. I felt I had to be emotionless and strong to get through it.” The Women of Lockerbie, set in Lockerbie, Scotland, revolved around a memorial service seven years after Pam Am Flight 103 was bombed on December 21, 1988, killing a total of 270 people. All 243 passengers and 16 crew members lost their lives, as well as 11 Scottish residents living in the town of Lockerbie. An interesting twist of the plot was the desire of the Scottish survivors, seven years later, to obtain and wash the clothing that was retrieved from the crash site and stored in an American-held facility. Their desire was to send the clothes back to the victims’ families, in order to further the process of healing. Naumoff is a theatre veteran of 27 years. Her father, Steve, was a Community Theatre Guild member in the 1960s and 1970s, when the guild was performing at the Memorial Opera House venue. After her father’s passing, she said, it was those people that became a second family to her and her mother, Susan, who also lives in Valparaiso and volunteers at the theatre. She said she had no idea what to expect when she went to see The Women of Lockerbie. “I told my mom the show I was going to see and she said, ‘You’re going to see a play about a plane crash?’ I was 10 years old when the plane crashed, and had no prior knowledge of the tragedy,” she said. “When I left Genesius Guild that day, I was not only more educated in a life-changing world event, but I was given a glimpse into the lives of people that I had not related to before. All of my emotions were put into play: sadness for the losses, heartbreak for the characters’ difficulty in dealing with the circumstances, and relief for the eventual closure. I left the theatre knowing that on the other side of the world, someone had gone through a tragedy like I had never imagined. It was humbling and touched my heart.” “Seeing Lockerbie showed me that many people have difficulty with closure,” Naumoff continued, adding that the show helped her personally, as well. “I was touched by the message and the actors of the show. Afterwards, I finally went through the trunks of memories (of her late fiance) that I had not seen in seven years. The pain will never be gone, but I feel that a great deal of healing was done, thanks to this theatre experience.” Greg and Sarah Miller of Burns Harbor experienced that community on a practical level last September, when two dozen people helped them move into their new home, the day before Greg was set to begin tech rehearsals for the play he directed at Genesius Guild, Flowers for Algernon. The two, married for just over a year, have helped or performed at Marian Theatre Guild, Genesius Guild, Hammond Community Theatre, The Dunes Summer Theatre and Crown Point Community Theatre. Sarah has been involved in theatre for 15 years, acting in over 30 musicals and directing several. Greg has acted in seven musicals and one play, and Algernon was his first directorial experience. Sarah gives them the label “theatre gypsies!” “I was laid off in April and we had sold our house in Highland and were living with my mother-in-law,” Greg said. “I had found a new job and was finally able to purchase a new house in September. There was no ability to change the date of the move . . . we had to get our own place. Since Algernon was ready to go into tech and production, we had to get the move done on that Saturday, so we put out the call for help and had an avalanche of support offered from our theatre friends!” The Millers said up to 24 people from theatre groups all over northwest Indiana helped with the actual move, contributing a half dozen vehicles to the effort, as well. Everything to furnish a 2,000 square foot house was moved in about two hours, after which the volunteers were treated to pizza at Gino’s East in Highland. “I have never seen anyone move so much stuff in such a short time,” Greg said. “Without the massive outpouring of help from the theatre community, there is no way we could have gotten it done in time.”
“The only way we could repay them,” Sarah said, “was taking them to a nice lunch and telling them to make sure they call us when they were going to move or needed help with anything!” Ed Griffith is no stranger to theatre in northwest Indiana. He is currently president of Genesius Guild and a co-founder of Tri-Town Players, a short-lived theatre company. He has also performed with CTG, Memorial Opera House and Marian Theatre Guild. The number of shows Griffith has acted in numbers into the hundreds, he said, citing the Ten Little Indians as the one that gave him the acting bug while in the 3rd grade. He has received the Carmen McNeal Award from Genesius Guild, the NIETF Lifetime Achievement Award, as well as a variety of best director, best supporting actor, best cameo, best costumes, and best show awards. Griffith has battled polycystic kidney disease for many years, a rare condition that causes cysts to develop in the kidneys, causing them to shut down. He endures weekly dialysis sessions which, he said, are often long and painful. Griffith has been on the transplant list at Northwestern Hospital for the last few years, and was recently called to come in again to begin the sessions for transplant. “About five years ago, I was blessed with a donor kidney,” he said, “and I had made it through my first year with the transplant and felt great. The freedom not to have to be tied to a dialysis machine and to have my whole life again felt like a freedom I hadn’t seen in a while.” Shortly after the first-year milestone, however, Griffith’s body rejected the kidney. “Along with the idea of having to face the dialysis machines again,” he said, “came the depression of having to give up that portion of my life I had reclaimed just a year and a half before.” He has resumed his 3-to-4 hour dialysis sessions each week, while maintaining a full-time position with St. Margaret Mercy Hospital as a Lead Pharmacy Technician. He also does a lot of community theatre. Another chance at the life-changing gift of a kidney transplant will occur Tuesday, December 8th, when the hospital will test all possible living donors to see if a match is found. If one is found, the hospital will determine the next step toward making the donation. “The idea of accepting the gift from a living donor has not been easy,” Griffith revealed, “nor is it an assurance that I may find the match I need. But the chances of finding a kidney quickly are better with living donors.” He added that while the decision was not an easy one to make, when faced with the constant deterioration of his body, he realized he needed to swallow his pride and accept a kidney from any available source. While Griffith currently counsels other dialysis patients on what to expect from the procedure, he said he would personally like to take a vacation one day that doesn’t revolve around finding facilities that will take his insurance or coming up with the cash to have his weekly treatments. “Become a donor,” urges Griffith. “You may not match me, but you can save other people’s lives by being donors. And who knows, one day it could be you looking for that match to save your life. Being part of the donor registry is so important that everyone should want to be part of it.” “If Northwestern should find a match,” he continued, “I will be eternally grateful for the gift. What better Christmas present could one receive?” “Theatre isn’t just about playing on the stage and getting out of the house at night,” Naumoff concluded. “It’s about people coming together with a common passion. The passion makes us friends; the regard and respect for each others’ welfare makes us a family.” 2009-2010 NIETF VIEWERS Here are your 2009-2010 Play and Musical Viewers: MUSICALS =
FROM "THE BLAST" Theatre Etiquette - SEPTEMBER 2009 Theatre Etiquette Theatre classes abound throughout northwest Indiana. There are opportunities to fine-tune your acting ability, get your feet wet with directing, learn a plethora of technical skills, and introduce your child to the stage. “PCT does not have it’s own venue,” she said. “Therefore, we, often-times, have to share the space we are using. During one of our performances of Cemetery Club, there was a raucous wedding reception going on at the same time, directly downstairs from us. Our patrons entered the building in a cloud of cigarette smoke and there were police breaking up bar fights every 15 minutes or so!” The best part came later, though, during an emotional cemetery scene in the play. “The DJ downstairs was playing the song Celebrate and all you could year was “Yahoo!” from the drunken dance crowd downstairs!”
FROM "THE BLAST"
A website about William Shakespeare claims he is the most widely read of all authors and the popularity of his works, in English-speaking countries, is second only to the Bible. The intrigue he has generated is evidenced by the following quotes that have been written about him: “The remarkable thing about Shakespeare is that he is really very good – in spite of all the people who say he is very good.” Robert Graves (1895-1985) “He was not of an age, but for all time!” Ben Johnson (1573-1637) “When I read Shakespeare I am struck with wonder “And so sepulchered in such pomp dost lie. “Shakespeare – The nearest thing in incarnation to the eye of God.” Laurence Olivier (1907-1989) “Wonderful women! Have you ever thought how much we all, and women especially, owe to Shakespear (sic) for his vindication for women in these fearless, high-spirited, resolute and intelligent heroines?” Dame Ellen Terry (1848-1928) “There Shakespeare, on whose forehead climb It is hard to imagine theatre without thoughts of Shakespeare intruding. Why then, do performances of his many plays seem scarce, to say the least? This month’s Blast feature explores the possible reasons for that, while attempting to give courage to any group considering dipping their toes into “the Bard!” Two people willing to approach this topic were Grant and Kerry Fitch, a husband and wife team who both currently serve on the board of Crown Point Community Theatre. The pair met onstage, while performing Pirates of Penzance in Highland and have done shows locally with Genesius Guild and Chicago Street Theatre, as well as CPCT. Grant has also worked with Memorial Opera House, Footlight, the Towle, and LCTG, and has received two NIETF acting awards. They are currently directing A Midsummer Night’s Dream at CPCT, and both serve as NIETF viewers, as well. “The language is amazing,” Grant explained when asked why he keeps coming back to Shakespeare. “Yes, some of it is difficult, but much of it so perfectly captures a feeling or desire or fact of life, that you find yourself quoting Shakespeare in everyday life – sometimes without realizing it. You reach for a phrase that captures how you feel, and Shakespeare’s already given it to you.” Kerry agreed that it’s challenging, but said there are so many possibilities and interpretations that every production will be different. “These are wonderful characters, sharply drawn, that give actors and actresses such meat to tear in to, such material, that people have wanted to play these characters for 400 years! The emotions are large and depicted so well, in such wonderful language.” Grant said they joke about Shakespeare’s plays being in the public domain and free to produce, making for an inexpensive production, “but of course there are plenty of free or cheap plays we could do that present less of a challenge.” “Personally, I like getting in there for a little scholarship and a little rewrite – digging out the jokes that would be funny with some translation,” he said, “making it a little easier for actors and audiences to get what Shakespeare was saying to his contemporaries. I am guilty of rewriting Shakespeare, which is funny, because I consider myself a purist – but really, I consider them translations – just trying to meet the modern reader, actor, or viewer halfway. “But you couldn’t do that rewriting if it wasn’t in public domain,” cautioned Kerry. Grant added that every time someone directs or acts in a Shakespeare play, it becomes an educational endeavor. “Directing the plays involves a lot of teaching and learning, as director and cast discover what all these words mean, both in a historical context and to a modern audience. Performing the words means you’re educating the audience – so does mounting a successful production – not just about what this speech means, what this scene is about, but in the larger sense, maybe teaching them simply that Shakespeare isn’t something to be feared.” The Fitches have been experimenting with Shakespearean plays for several years. Kerry did scene work in one of her high school classes and staged a full production of A Midsummer Night’s Dream. She assisted with another production of it at Genesius Guild, then worked with Grant on King Lear there. “I played the nurses when CPCT did Romeo and Juliet for our first Summer Shakespeare, then we co-directed As You Like It and Dream.” Grant has directed King Lear, As You Like It, and now A Midsummer Night’s Dream and said he’s working up treatments of Hamlet and “the Scottish play” for future productions. “I’ve acted in the Scottish play and in As You Like It – not the same production we directed – and in Lear,” which was the same one he directed. “Also, if you count Shakespeare Abridged, and I do, Kerry and I directed it at Whiting High School, and then I was in Stephanie Naumoff’s excellent production.” Kerry said she’s amazed to have a core group of kids who have been with the theatre company for all or most of the past four years of Shakespearean productions, who look forward to the opportunity every year. “We were fortunate to have a great program started by Dana Zurbriggen to take charge of after she staged two productions, and ever year new talent emerges and old friends return. It’s a great mix of people who have a lot of Shakespearean experience and those who’ve never attempted it before.” “I was thrilled to be able to have some real sword fighting on stage in Lear,” Grant said. “We had Chicago professionals, R&D Productions, come out to choreograph and teach us half a dozen different fights. It was an incredible experience. I hope the audiences enjoyed it as much as the cast and I did. I really want to do another show with some violence, now!” A possible negative to staging a Shakespearean play, Grant said, is working against people’s preconceived notions, but he doesn’t think they usually last long. “What I find tricky,” added his wife, “is striking a balance between pleasing people who already love Shakespeare with those who don’t know they do yet.” She explained that when adapting the text, they try to keep it fresh and engaging to a modern audience without alienating fans. But, she said, the positives far outweigh the negatives. “Again, it’s the characters, the emotions, the language, the challenge. It’s a once-in-a-lifetime chance to say some of these words. How can you not take it?” She offered this advice to anyone considering the possibility: “Don’t focus on it being ‘Shakespeare.’ Start with the story and the characters. What do they want? What are they willing to do to get it? What drives the action?” As a final note, the Fitches invite viewers to the closing weekend of A Midsummer Night’s Dream and share where the idea came from to set the classic play in the middle of the 1950s. “It was this crazy idea that came into my head and refused to go away,” said Kerry. “Dream is set in a fantasy world that gives you some license to go over the top, so why not have the King of the Fairies be a little like Elvis?” But she also felt a responsibility to the themes of the play and said she didn’t want to stage A Midsummer Night’s Grease! “Growing up with shows like ‘Happy Days,’” she said, “so much of what we base our impressions of the 50s on is already filtered through the nostalgia of the 70s and beyond. Titania and her doo-wop girl group are wearing dresses that we built from a 1952 pattern, and the backdrop for the set was inspired by a piece of vintage floral fabric where the leaves resembled guitar necks. There was more to life in the 50s than sock hops and malt shops,” she continued, “and we hope that by focusing less on the fads, the play shines through while enhancing the feelings of innocence and optimism that the text and the era have in common.” Grant added that using the music of the 50s with Shakespeare’s words worked out better than they could have dreamed. “There are five music cues built into the script and we’re using six songs. Music brings emotions to the surface, so a love spell cast through music is even more powerful. The iconic characters of the early days of rock-n-roll are immortal,” he said, “so we populated our fairy world with rock stars.” As for the future, both encouraged Shakespeare aficionados to keep CPCT’s Summer Shakespeare in mind. “After three comedies in a row,” Kerry said, “we’re leaning towards staging a tragedy next year. As long as people keep coming out to perform and see Shakespeare, we want to keep providing a venue for these amazing pieces of literature and drama.” “We’ve been very pleased and impressed to be able to keep giving more Shakespeare,” Grant added. “Next summer will be CPCT’s 5th annual (workshop). We love that we keep getting new actors trying out for their first Shakespeare show, and we keep getting good audiences. So now we’re even taking requests. What would YOU like to see next?”
FROM "THE BLAST"
What does it take to bring a play to life? "From page to stage" is the topic of this month's Blast feature and representatives from two NIETF-member theatres share their thoughts. JuliAnn Merrion calls herself a fairly new director who has directed children's and youth theatre and assisted with directing two plays. She is currently in the middle of directing her first full-scale production at the Dunes Summer Theatre, Little Shop of Horrors. She said she gets a "vision" for a play from simply reading the script. "Like any good book, a good script will unfold before your eyes," she said, adding that she tries to not read the setting descriptions, so her imagination remains unbridled in the beginning. After reading the script, she then puts it away for a few days before taking another look. "I start thinking about the characters and if I can relate them to other people I know. Almost always, there are characteristics or idiosyncrasies that remind me of someone, whether a friend or celebrity. He or she may be a real person or a character from another tale. I identify their similarities and differences, and then try and connect the character to the setting of the script." Usually by the third or fourth read, Merrion said, she's comfortable with the characters and familiar with the environment where "her" story is now taking place. "It sounds like a step-by-step process," she said, "but it's not. It happens very naturally, and I don't usually know I am in the process of figuring out the vision until I realize I know exactly what I want to accomplish." At that point, Merrion looks to fellow thespians to put her vision on stage. "Thankfully, in this area of Indiana, we have many capable theatre technicians," she said. "It's mostly a matter of asking around, seeing who is already involved in other works, then making a few phone calls and reminding them they don't love the theatre for the money....!" Dale Kelley, president of Hammond Community Theatre, said the process begins with his organization picking the director, then working with that individual to select a play of their choice. "Sometimes they only have one in mind, sometimes they bring several options," he said. From a director's standpoint, he usually has seen or read a script that strikes him just right, and ideas on staging the play form in his mind. "I read and reread the script and fill in the blanks on how I see the play on stage," he said. "I usually then block the entire show in my copy of the script. By the time I audition the show, I know what, how, and even a general idea of who I want on stage." Kelley said HCT has a 15-person board of directors that assists with each production. Most of what a director needs is supplied from that group. However, if a director has their own people they like to work with, he said, the board will just assist where needed. A minimum of several months is needed to bring the play to life, he said, but a year is the ideal amount of time. "We need time to secure the rights, order scripts and promote the show," he said, adding that at least a dozen people are needed to assist in the backstage process. These include people for set design, lights, sound and costumes, as well as a stage manager and, depending on the show, one or two persons as the stage crew. Another six or more are needed to help with the program and work the house during performances. So how is literature brought to life? Kelley suggests that reading a book, if available, is a great resource for character development ideas. "Often the script gives a rather bare description and anything you can find to help fill in the blanks is great," he said. He suggested books on pictures and clothing from the time period for costuming and stage design. "When we select a director, we have decided to allow his or her vision to appear on stage," Kelley said. "An audience member with a definite perception on what they expect to see may be disappointed. I always suggest they consider directing; we are always looking for new blood." Theatre groups and directors should decide what they want to achieve on stage and pursue that goal, Kelley said. "Decide, then strive to do the very best to make your productions real to that vision. If you please yourself, I think you will find your audience, in general, will be happy with your work."
FROM "THE BLAST"
On any given weekend, theatre aficionados in northwest Indiana have more than one venue competing for their attention and money. With 13 theatre groups in a three-county area, NIETF is represented well. But what do those theatres do in between shows to keep interest alive and make the necessary money to keep the doors open? The Towle Theater, Hammond, offers four mainstage shows each year, each running 2-3 weekends, as well as a holiday show. Jeff Casey, managing director, said the Towle offers a variety of other events in between.
“We regularly present two dance companies, Generations Dance Theatre and Indiana Ballet Theatre; a number of music performances, including a bi-annual local music showcase, as well as improv, solo and special event performances; and we have a significant number of rentals each year for corporate and social events.” “We also just added a beer school, which sold out, and a wide variety of youth activities. In addition, we partner with a number of other organizations to fill out our schedule, such as South Shore Arts; Books, Brushes and Bands for Education; and Boys & Girls Clubs, to name a few.” Casey said any time you try something new, there’s a risk involved. “Will people buy into the new offering? Will you spend more money promoting an event than you’ll make? How much staff and volunteer hours will it take to make the event a success? How long do you keep trying something, in hopes that it will catch on before you cut your losses, without shooting yourself in the foot?” The most obvious benefit in doing this, he said, is filling out the regular schedule. “We also believe part of the reason for our success is offering a wide variety of diverse programs.” Another added benefit, he said, is bringing people into the building for an event, such as beer school, that might not usually come for theatre. “Everyone’s more guarded with their money,” Casey said. “We believe we are faring well, here at the Towle, because people have come to trust that they will have a high-quality experience, so they don’t feel it’s a risky use of their dwindling entertainment dollars. We also feel we’ve positioned ourselves well in our market, as far as ticket price, and the value our guests receive for their support.”
Rip and Bonnie Johnson are managers of Beatniks on Conkey, a theater and coffee house in Hammond. Starting just over a year ago, January 17, 2008, the Johnsons describe it as a community and experimental theatre where new and original works are welcomed, along with traditional theatre. “We hosted 34 shows in our first year,” Bonnie said, “including ten plays by five theatre companies, one of which was an original musical; seven improv shows by five troupes; three silent movies; five original variety shows; two magic shows; and seven “open mic” weekends.” In addition, three artists have displayed works, they’ve hosted year-round acting classes, and recently started a writer’s club. “This was all accomplished by the scores of volunteers who put in thousands of hours without compensation,” she said. Johnson said Beatniks exists so that anyone wanting to perform, or learn to perform, or work the technical side of theatre has a place to try. “We welcome the original and unusual things which the talented community of performers and artists in northwest Indiana can dream up or want to put on,” she said. The Johnsons consider Beatniks to be an incubator for new ideas, “A place where you can put on that show you always wanted to do, and so far we’ve been able to accommodate most everyone who has proposed something to us.” “Because we are in our infancy,” she continued, “our audiences are growing and we sometimes struggle, financially, to make ends meet. Through the generous support of our patrons, though, we are making it.” She said the greatest triumph since opening is the “tremendous number and quality of actors and artists who have performed on our stage.” When considering how to spend your entertainment dollars this weekend, look past the regular theatre schedule and consider venturing into new territory! FROM "THE BLAST"
“We practice safe sets” is Kevin Doler’s mantra. He’s even had it printed on t-shirts to advertise the fact. Doler is the founding president of North Coast Cultural Association of Chesterton, more commonly known as 4th Street Theatre. He’s also worked with Portage Community Theatre for the last five years. He calls himself the “resident designer,” because no one else has stepped up to take his place. “I’m like one of the three stooges,” he said. “When someone asks for a volunteer, Mo and Larry step back, leaving Curly standing alone. Poor Curly doesn’t catch on!” Doler acts too, but said he normally doesn’t have time to do that, even though it’s his first love. That’s why he’s ended up in set design and building. He’s also ventured into other areas of the theatre, specifically directing, producing and lighting. He’s co-directing and co-producing The Shadow Box at 4th Street, for which auditions will be held later this month. As a set designer, Doler is hard-pressed to name a favorite. “All shows have their own points and things,” he said. “Each has a different design concept.” Two stand out in his mind, though: Fiddler on the Roof and Over the River. The Midwest premier of Marrying Terry, presented some unique hurdles to overcome, he said. “I had to make two major scenes of the Drake Hotel, the lobby and the bar, plus the master presidential suite, which became extremely difficult,” he said. “I decided to use a Murphy bed and other pieces that flipped and turned. I bought the hardware for the bed for $500, but have since rented it out twice. It’s also been used several other places, which has kind of paid for itself. I still have it!” “We don’t have very much fly space (at 4th Street) and no back stage to speak of,” Doler continued. “We only have a 12-foot, 6-inch depth, so we have to be creative in finding ways to make scene changes. I use a lot of turntables or sets that flip open or change, which makes it very difficult. We can get two stories if we need to and I have done that, but we can’t fly anything in and there’s no space to take it off the stage.” Since he works in such a small space, and the house seats just 60 or so, Doler said he likes to take his sets into the “fourth wall.” “I try to make things blend, come out, and be submerged, with more of an extension feel to it. It’s important, in intimate theatre, to make people feel like they’re a part of the show. Doler gives credit to the wonderful directors he’s had to work with, especially since they put up with him, “because I can be a pain!” His worst experience in the set business was trying to stage The Mystery of Edwin Drood, about five years ago. “I tried to do a couple of things using fly space and it really didn’t work at all,” he said. “I spent an awful lot of time on it and ended up being really sick right then.” He said it was one of the worst shows he’s had experience with because he didn’t feel well and couldn’t be as creative as he would have liked. His plans were scrapped, which was pretty disappointing, given all the work he had put into them. “I’ve learned to adapt and take things in stride, though,” he continued. “I just move on to Plan 2.” If money was no object, Doler said he would make the 4th Street stage deeper and give himself some fly space. “But since that’s not going to happen, why dream about it? They’ve (the theatre’s) been very good about letting me buy or purchase what I need and letting me make some permanent changes each year.” He said they now have permanent steps that can be used for a second floor. “Ultimately, I would like to have more help,” he continued. “I enjoy doing it, but wish for a break once in a while. We do have some real diehard people helping me, but I always wish for more of them!’ “If a set is done right, it becomes another member of the cast, a silent member, but a member nonetheless,” he continued. “If it’s good and really works, then the actors find themselves stepping up and doing better, which gives the show a better quality all around.” “It’s important to do it safely,” he added, saying that he’s witnessed some sets in the past at other theatres, that were not safe for the actors. “Even though they’re just actors,” he said jokingly, “their safety is utmost. We don’t want any accidents on stage.” Doler is a busy set designer, with two recent shows opening on the same Friday night: The Sisters Rosensweig at 4th Street Theatre and Jerry’s Girls at Portage Community Theatre. “I can do more designing if I have quality people helping me to build it,” he said. “It really makes a difference.” Crown Point Community Theatre is similar to 4th Street Theatre, in dealing with a small space and lack of storage. But they also share space with On The Square Sports Academy and have some extenuating circumstances that many theatres don’t have to think about. Mandy Dietrich has been involved with CPCT since moving to Crown Point about five years ago, serving on the board for four years. She’s now in her second term as president. But theatre is not something that’s new to her. “I’ve been seeing theatre since I was a kid, living just a few doors away from the Hinkens (Larry and Sondra),” she said. She started in community theatre in 1995 with Genesius Guild, Hammond. “I was onstage and backstage in high school, and once I got into community theatre, I began just onstage,” she said. “After a few years, though, I wanted to learn more about being a bit more behind the scenes.” Dietrich helped out with painting and construction, then wanted to learn more about what it took to put on a show. “I started to assist the directors and directed my first musical in 2002. I’ve been a part of shows with elaborate sets and shows with nothing but a stage.” “Working in a shared space, like our current location, we’re unable to construct a set on our actual stage,” she said. “We’ve got the choice of either building in the lower level of our space or creating off-site and transporting it.” Limitations to the first choice are that the space does not have the same dimensions of the stage and transporting it upstairs a level is challenging. “It’s definitely possible if the set is minimal and created in pieces,” she added. “With our recent production, The Wizard of Oz, we were fortunate enough to borrow Genesius Guild’s space for construction and before tech week, we had a big load-in day! Their generosity truly exemplifies community theatre.” Pinning down her favorite set was a “tough call,” she said. “When I directed Steel Magnolias, I spoke with John Konrad about the construction of the set. While we were talking about the preliminary plan, he took a piece of paper and sketched out a design. Months later, during construction, it was practically exactly as he drew it!” Dietrich used the Proof set last spring as a great example of people working together, from the beginning stages with the director, to the concept by the designer, to the artistry by another person. “It was inspiring to watch,” she said. Her worst experience with a set was hard to pin down, she said, because she looks at everything as a learning experience. Since her theatre is using a shared space and paying rent each time they use the stage, Dietrich said unlimited rental funds would be nice to have if money was no object. Additions to the physical space, though, would include more fly space and wing space, she said. “We wouldn’t be anywhere, though, without our incredibly smart volunteers of time, talent and space,” she added.
FROM "THE BLAST"
Northwest Indiana was well represented at this year’s Indiana Community Theatre League (ICTL) competition, held March 27-29 in Muncie. Two groups affiliated with NIETF performed at the state festival, including Valparaiso’s Chicago Street Theatre and Genesius Guild of Hammond.
Performing “The Women of Lockerbie” for Genesius Guild were Anne Nicholls, Ed Griffith, Donna Rettew, Sondra Hinken, Judi Serhal, Larry Hinken and Antoinette Alessio. CTG actors performing “Assassins” were Karl Berner, Brian Sherwinski, Trevor Bruss, Scot MacDonald, Bruce Berner, Darren Serhal, Jason Utesch, Stephanie Naumoff, and Sherry VerWey. Deb Johansen, Lockerbie’s director, said her group rehearsed in a relatively short amount of time, but the actual costs were pretty high. “We spent about a month rehearsing,” she said, “and the set was built in about three weeks. The cost, with entrance fees, set materials and truck rental, was about $1,000.”
“Our rehearsals were very difficult to arrange,” said Andy Urschel, director of “Assassins.” “We had two cast members from our initial run not able to go, so we had to move one cast member to a different role and fill in the other two spots,” he said. “Plus two members of our cast were involved with the current mainstage show, so we were only able to rehearse on Sundays.” Urschel said his set was built in a couple of weeks and gave the credit to Mel McColley, who “has become a master at building a traveling set.” Urschel added the theatre provides a budget to rent a truck for transporting the set, so not a lot of money was needed. Other than traffic delays that prevented a timely arrival, and a less-than satisfactory hotel, Johansen thought everyone involved had a great time.
Urschel agreed. “The hotel we had originally gotten reservations with released our rooms, so we were forced to scramble for rooms at the last minute. Everything worked out in the end and we were all able to get rooms.” “During the performance,” he continued, “the sound equipment went out on me, so we weren’t able to have the full effects we wanted, but my talented cast was able to adjust on the fly.” “State is a different kind of beast,” Urschel continued. “I'd say the most stress is caused by the fear that you're going to do something avoidable that results in you getting disqualified. But it gives you an opportunity to get outside of the community and show the state what you have to offer.” Johansen said the most positive aspect of performing at state was gaining more experience. “The experience is what is going to make you better actors and directors. If you don't realize you’re doing something wrong, it will never be fixed.” “It’s also good to see the other competition and what is out across the state,” she added. “I think this area is lucky because we have NIETF which supports cross integration with other groups. I'm not sure it's the same in other areas across the state.” One thing that sets state competition apart from other performances is the comments delivered afterwards by a team of adjudicators. Johansen said she preferred to think they were simply voicing an opinion. “Sometimes the remarks can be unsettling with a new person, but for the most part, you smile and say ‘thank you.’ “Once you’re away from them, the performing groups all decide the adjudicators are nuts!” she said. “You hope and pray there will be something that you can take away from the experience and use, but often it’s more of a different way of thinking.” CTG was the last theatre to perform during the competition, so Urschel said the adjudicators spent time thanking everyone for coming and commenting about the good turnout. “They seemed impressed with the show and our only critiques were on one specific moment of blocking and minor character issues. I was very happy with everyone's performance,” he said. ”I don't think I was prepared for the amount that needs to get done before you get to state,” Urschel continued. “Even though it's a show you've done before, you have to edit it down to an hour and you're working with a different set. Plus, you have to take a backseat to whatever is going on mainstage at the theatre, so we had to adjust to the limited rehearsal space.” Johansen said she would definitely participate in an ICTL festival again. Genesius Guild took “Scotland Road” to competition three years ago. Alessio and Griffith were part of that cast, also. “CTG takes a show to state every year, which is a huge benefit because there is a lot involved,” Urschel said, adding, “We have a deep pool of resources if we need help. I would easily go again as an actor, but it'll be a while before I take another show I've directed.”
From Hammond Community Theatres BEATNIKS ON CONKEY: Hello again
FROM "THE BLAST"
ONE BIG FAMILY “One big family” is how many describe their experience working in local theatre. But, for some people, that general description has become a reality. From Michigan City to St. John, Valparaiso to Whiting, each member of the Northwest Indiana Excellence in Theatre Foundation can agree. . . community theatres have a way of attracting more than one member of a family. Chicago Street Theatre’s Henry family is one example. Brother and sister, Ed Griffith and Annette Van Linden of Genesius Guild are another. Munster resident Lisa Woodruff, Highland native Sarah Miller, and the Fary family of Hammond, all have one thing in common . . . working at “the theatre” has become a family affair. Jim and Dona Henry, of Wheeler, have been an integral part of Chicago Street Theatre for 16 years, but their initial involvement was purely by chance. “Jim was a huge talent in high school theatre,” said Dona, so when they moved back to the region after a stint in the Air Force, she encouraged him to get involved. However, preconceived ideas about the people at Chicago Street Theatre kept him from auditioning. “In 1990, we had a son who was born with subdural hematoma and required a physical therapist to come to our home once a week,” she said. In walked Jonni Pera, and the two quickly became good friends. Jonni cast the family dog, Killer, as Sandy the dog in Annie, and “the rest,” Dona said, “is history!” Daniel passed away three years later, Dona said, “but his legacy lives on through our entire family. Because of Daniel, we found our love of theatre, playwriting, directing and performing.” Jim has filled multiple roles at Community Theatre Guild, first at the Memorial Opera House, then at Chicago Street Theatre. He has acted, sang, directed, worked backstage, done set design and construction, and served as a board member. He is also a resident playwright at Chicago Dramatist, with CST as his home theatre. Dona has basically done everything there is to do at Community Theatre Guild, including directing, acting, backstage and technical work, fundraising, and serving as board chairman for two years. “The only thing I haven’t done is lights,” she said. She recently put her love of dancing on display by representing the theatre at a Dancing with the Local Stars event in Merrillville. . . she and her partner earned the first place trophy! Dona said the highlight of her life, though, was playing opposite her husband in Backward in High Heels at CST a few years ago .The Henry children have also been busy at the theatre for the same number of years. Jim III, 30, of Valparaiso, is a musician who mostly helped with set construction while growing up. However, he played Joseph in 1997, earning a Best Dramatic Talent award. Julie Henry Roberts, 28, of Valparaiso received the same award for one of her many roles on stage. She is a choreographer, dancer, actor and singer, and still very much involved in the theatre. Joel, 27, of North Hollywood, CA, recently made his own movie, Dying Days, which will be premiered in Northwest Indiana this summer. His amazing theatre background includes a Best Actor award and attending Columbia College in Chicago for filmmaking. Andrea, 26, of Wheeler, has acted, worked backstage and coordinated costumes locally, and performed at Merrillville’s Star Plaza Theatre the past two years. She was most recently seen in Cabaret and Chicago. Benjamin, 23, of Valparaiso has had numerous acting roles at CTG and done set construction. He also plays many instruments, including the guitar, piano, bass and violin. Steven, 19, attends Missouri Valley College and has performed several times over the years. He has also helped with lots of set construction and decoration, but prefers sports to theatre. Arlene, 16, has been involved with the theatre her whole life. She debuted as a baby bumblebee in Alice in Wonderland and has acted, sang, danced, worked backstage, directed, constructed and decorated sets, and costumed since then. While living in Los Angeles in the early 2000s, she played the role of Dorothy in a semi-professional children’s theatre group. Hammond’s Genesius Guild has several families who “do theatre” together. They include Larry and Sondra Hinken and children, Chris and Paul Foltz and daughters, and Lisa, Charlie and Clarke Remmers. Ed Griffith of Crown Point said his family circle at Genesius Guild continues to grow larger. It was the production of A Funny Thing Happened on the Way to the Forum two years ago that started it. “I was the director, my sister Annette Van Linden was the costume designer, and my nephew Marshall Crick was the sound guy,” he said. Another nephew, Ezra Edwards, ran the spotlight and niece Kate-Lynn Edwards played Philia. “It was loads of fun,” Griffith said, “and gave us a stronger bond because of the shared commitments.” They were also part of Genesius’ South Pacific, that just concluded its run. Griffith directed, Van Linden worked on props and ran spotlight, Crick was producer, sound engineer and in the cast, Kate-Lynn played Liat and Ezra portrayed Stewpot. As an added bonus, Crick’s fiancé, Tonya, ran the other spotlight, making the circle grow larger. The involvement of Griffith’s niece and nephews began during a children’s theater camp 17 years ago, when Marshall and Kate-Lynn were in a production of Charlotte’s Web. “Marshall was Zuckerman and Kate-Lynn was a baby spider,” Griffith said. “Now as young adults, they have taken ownership of many Guild duties,” he continued. Marshall is currently vice-president and was recently in charge of building the new stage. Crick is also looking to upgrade the Guild’s electrical system. “When the adults wonder where the kids are to help with the productions, they perhaps should look no farther than their own living rooms,” Griffith said. “There is a wealth of resources sitting on the couch that only needs to be asked.” NIETF vice-president Lisa Woodruff and her family live in Munster but have been a part of many theatres throughout the region. Her daughter, Madolyn Hedin is 17, but has been active in the theatre since she was 6 years old. Lisa’s husband, Fred Hedin, is usually more comfortable as an audience member, but got involved in one of their productions nearly a decade ago. “Maddie and I were involved in Sound of Music at the Memorial Opera House, and as is not unusual, we needed a few more men,” she said. “Faced with weeks of solitude at home, with our older kids off at college, he (Fred) agreed to play a small role.” As Hedin put it, he played the “mean Nazi dude,” and they all enjoyed their time together. “I have not convinced him to take the plunge again since,” she added. As an added benefit to appearing on stage, Hedin got to use an authentic Nazi flag, brought home from World War II, as a prop. “It was a little eerie for all of us, his using that!” Woodruff said. Sarah Miller of Highland got her start in theatre nearly two decades ago because of her childhood neighbor, Bob Clark. “I looked up to Bob, who has done many community theater shows,” she said, “so when I was in 8th grade I wanted to give it a try.” Once she was hooked, Sarah’s little brother Matt fell in love with the soundtracks he heard coming from her room. When he was in 8th grade, he auditioned for his first show and got a large solo part, shocking his family because he was such a quiet kid. “Matt met his wife at a karaoke bar and because he had such a wonderful voice, she coaxed him into auditioning for a musical,” Sarah said. “He has been hooked ever since, and now wants to direct.” Sarah’s dad, Jim Courtright of Chicago, got involved in theatre by helping build sets for the shows she was involved with. “He has probably seen over 50 shows in the area, due to the involvement of both his son and daughter throughout the years,” she said. Now his granddaughters, Lauren and Claire Gronek of Shererville, are part of the Wizard of Oz cast in Crown Point, and Courtright is working on the set design. Sarah’s cousin, Kenny Rudzinski of Griffith, takes any opportunity to play his trumpet so has been asked to play in many shows in the area. He made his stage debut at Marian Theatre Guild in this year’s Anything Goes, when he came out of the pit to dance for one number on the stage. Greg Miller, Sarah’s husband, had only been in one high school production before meeting his wife three years ago. Since then, he has been in six shows, including having two of the leading roles. He has also helped with lighting and building sets. “Our entire family grew up around theatre,” Sarah said. “My father loved his record of Jesus Christ Superstar so much that he wrote a term paper on it in high school!” Her babysitters complained about having to watch the musical Annie every time they came to sit with her. “And when Lauren and Claire were in their mother’s womb, she used to put head phones on her belly and blast the soundtrack to Joseph!” Ron Fary of Hammond has played in orchestra pits since he was young, but it took his son Christian, 14, to finally get him up on stage. Christian’s first show was Oliver at Genesius Guild, four years ago, and his desire to have a part in the production convinced Ron to take the plunge and go onstage too. Christian has gone on to do several other plays, including High School Musical at the Star Plaza Theatre in Merrillville. Both he and his dad are currently in The Wizard of Oz at Crown Point Community Theatre. Ron’s other son, Noel, 7, got his start in The Music Man at the Towle Theater, even though he was actually too young to audition, Ron said. “He was allowed to audition because Jeff Casey had seen him in the General Dance Theatre show that our whole family is involved in. After his audition, Jeff thanked him for making his day!” he said. Noel was then cast as Winthrop, and also has a part in The Wizard of Oz.
1ST ANNUAL THEATRE FAMILY REUNION - SUCCESS
WELCOME OUR NEWEST MEMBER THEATRE
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