Town Theatre’s mission is to provide quality, live, family-oriented community theatre to the Midlands and beyond as well as to offer the foundation for those who wish to participate on stage or backstage. As such, we are offering up to four technical internship positions for the summer of 2017.
Intern Duties: ~Assist with various aspects of the technical side of theatre.
~Participate actively in preparing for the summer production of Willy Wonka. ~Work in one or more of the following areas: carpentry, stage lighting, engineering, scenic art and design.
Qualifications: ~Some experience in technical theatre.
~Should be flexible, creative, a team player, reliable, and have a good work ethic.
~Display a willingness to assist in load in/out, as artist liaison, and setup/tear down stage.
These internships are ideal for candidates who are looking to study technical theatre and/or design in high school, Governor’s School or college. Candidates should be between the ages of 14 and 19.
In general, interns will work from 1:30 PM – 4:30 PM Monday through Friday beginning June 5. We will not work the week of July 4. There may be some optional opportunities to work on weekends as well as backstage crew for the production which runs July 21 to August 6. Interns will receive at least 75 hours of scenic building, painting and lighting work on a realized production.
Other Details: Interns will be under the supervision of Danny Harrington, Technical Director. All technical internships are unpaid. Neither housing nor transportation is provided. College credit may be granted, but must be coordinated in advance with the intern’s university/college. Interns will work primarily at Town Theatre which is located at 1012 Sumter Street in downtown Columbia and at Town’s warehouse located off of Shop Road.
To apply: Please send a letter of interest and your theatrical résumé to Shannon Scruggs no later than April 24. Selected applicants and their parents will be scheduled for an interview with Town’s Technical Director and Executive Director.
With the discovery of so many rich musical pieces, I now had the building blocks to fully construct my narrative. Coming up with character names was a cinch because I could use the names of the characters that originated the songs in the original productions, and then apply these names to my newly created dramatis personae. However, my next step was the most important of all: developing and adapting the characters storylines so that everything worked together in one show.
At the forefront of the “drama” section of my story are 2 female leading characters: Margo (the mature, worldly, yet insecure star) and Eve (a young ingenue Production Assistant that is seemingly sincere). Here were my two ladies that had been inspired by all of the works mentioned at the beginning of this writing. It seemed appropriate to choose the names from the most famous work, All About Eve. Finding two actresses to portray these complex women was actually the easiest part of casting, believe it or not. For Margo, I had to look no further than my own sister, Dell Goodrich (Stand By Your Man). For Eve, I spotted what I was looking for immediately in Mary Joy Williams (Nice Work if You Can Get It). Other characters I included are a playwriting couple, inspired by Karen and Lloyd Richards in All About Eve, Maggie and Bert in42nd Street, and Georgia and Aaron Fox in Curtains (whose names I chose to use). These roles were perfect fits for Megan Douthitt (Mary Poppins) and Corey Langley (The Addams Family). I now needed to select an actor to portray the director of the “show within a show” and love interest to Margo, Mack Sanders, inspired by Bill Sampson from All About Eve and of course Mack Sennett from Mack & Mabel. After a wide search, I finally found the ideal actor for the role: Bill LaLima (Les Mis), who’s warmth and humor shine throughout the story. One more major character needed to be cast: the acerbic, witty, and pantomath critic influenced by Daryl Grady from Curtains, Feldman from The Magic Show and Addison DeWitt from All About Eve, who’s name I knew I had to use. Bob Blencowe (Spamalot) agreed to join the cast.
With these theatrical stock characters in place, I knew I could easily develop my narrative. But, I needed additional characters, of course. To approach these personalities, I first looked at what songs needed soloists, and constructed from there. To sing the beautiful “Lion Tamer” from The Magic Show, I immediately thought of Town newcomer Robin Saviola. Her character, who is also inspired by Maggie from 42nd Street as well as Birdie from All About Eve would be named Cal, after the soloist from Magic Show. To sing the quintessential title song from Applause, the lovely and talented Allison Allgood (Sugar) came to mind. This character became a combination of the original soloist form Applause, Bonnie (who was portrayed by Bonnie Franklin. In like-fashion, all of the ensemble members of the original production went by their own names as a cheeky homage to their real-life gypsy status); and Gittel from Seesaw, who originated the hilarious “Nobody Does It Like Me.” To give credit to Applause, I named the character “Allison” after its actress and made her the bartender/owner of Backstage Bar. To be the soloist in the big dance number in the show: “It’s Not Where You Start” from Seesaw, Anthony Matrejek (Nice Work If You Can Get It) was a natural choice. His character, David, would be a combination of Duane from Applause and most importantly, David from Seesaw (a Tony Winning Role for Tommy Tune). To play the tap dancing bartender, Phoebe, Samantha Livoti, was selected. This character is partly inspired by a minor character from All About Eve, but will be featured much more prevalently in Backstage. A new addition to the utilized classic theatrical keynote is the character of the leading lady’s mother, Belle, whom is being portrayed by the great Kathy Hartzog (Driving Miss Daisy). Belle arrives a few times throughout the course of action in Backstage to keep her daughter, Margo, in check and administer to her a healthy dose of reality.
The remaining actors and actresses in the show include Nate Stern (The Addams Family) as Christopher, an aspiring director and member of the ensemble of the show within a show. Emily Northrop (Sugar) will portray Cathy, a struggling actress that gets to amuse and move the audience. Josh Kern (Grease) is back as Jerry, the leading man of the show within a show. Lisa Akly (The Little Mermaid), Tracy Davenport (White Christmas) and Town newcomer Rachel Rizzuti, play Broadway performers Wanda, Angela, and Jill, respectively. Rebecca Goodrich Seezen (Spamalot) will join Jennifer Davis (Spamalot) will bring to life the roles of Donna and Dina, two Broadway singers and dancers that get to “sparkle” with their soulful and upbeat songs. William Ellis (The Little Mermaid) will join Jalil Bonds and John Dixon (in their Town debuts), as ensemble members Herbie, Brick, and Oscar, respectively. These three gentlemen are clever and witty throughout the show. Town veterans Kristy O’Keefe (Peter Pan), Emily Clelland (The Little Mermaid), Roxanne Livingston (Nice Work if You Can Get It), and my lovely cousin Agnes Babb (Mary Poppins) will take the stage as featured dancers Arlene, Bambi, Nicki, and Marjorie, respectively.
We hope these three blog entries have given you a little insight into how this show was conceived, constructed and put together. It’s been fun and we look forward to seeing you tonight! Visit www.towntheatre.com or call 803-799-2510 for tickets.
And don’t forget the pre-show reception at 7:15 PM!
Now came the task of determining which songs to include in this revue. Obviously, Applause’s entire score could be utilized. However, I wanted to select just the right songs to aid in the construction of the plot. I decided: “Applause,” “Welcome to the Theatre,” and “One Halloween” were the most stringent and pertinent tools to use. The title song from the show is a brilliantly written piece exploring the motivation that drives performers to perform. (Perfect, right?) Originated by the late, great Bonnie Franklin, “Applause,” cleverly asks, “What is it that we [performers] are living for?” “Welcome to the Theatre,” first introduced to audiences by Lauren Bacall, presents a means for a seasoned star to educate a new one about what working in the theatre is REALLY like. (Again, spot on for Backstage.) “One Halloween” is a harrowing soliloquy in which the young ingenue gets to let her guard down and explore a multitude of suppressed emotions dating back to childhood. (I could tell you in what context I am using this song in the show, but that would spoil the plot too much. )
Seesaw was another Broadway musical that I wanted to include in Backstage. The show, originally presented by Michael Bennett in 1973, tells the story of Gittel, a struggling dancer that works odd jobs to earn a buck until she gets her big break. Her stress is increased when she falls in love with a young man that has just arrived in New York, looking for a fresh start. The numbers in Seesaw deal less with performing, but with life in the city. While some of these descriptive songs obviously exhibit some character emotion (“Nobody Does It Like Me), others are better utilized as
a chance for the characters to workshop some performance ideas (“My City” and “It’s Not Where You Start”). I wasn’t even aware of Seesaw until I became a fan of the television series, Knots Landing,and learned that its leading lady, Michele Lee, had received critical raves for her performance as Gittel. Upon hearing one of Ms. Lee’s solos, I was hooked, and downloaded the entire cast recording.
Seesawand Applauseare both seldom-done, not oft-remembered musicals that were highly successful when they premiered in the 1970’s, but have not seen much action since. Keeping with that time frame and theme, I found many shows that were show business related. Several, like The Magic Show, The Act, and Barnum were largely prosperous. Some, like Mack & Mabel, So Long 174th Street, and Rachael Lily Rosenbloom…And Don’t You Ever Forget It, were considered flops, but contained some well-written, memorable tunes. I chose to use some songs from each of these shows except Rachael Lily Rosenbloom.Its score was never recorded ~ it closed before it opened ~ yikes!
I still needed a few more great selections so I expanded my search. From the 1950’s, I found Me and Juliet, a lesser-known Rodgers and Hammerstein gem about a Broadway troupe. From the 1960’s, Little Me, the brilliant screwball musical about Hollywood in which Sid Caesar played multiple characters. The 2000’s brought forth a resurgence of show business musicals, including: the murder mystery, Curtains; the relationship centered The Last 5 Years; and the biographical A Class Actand The Boy from Oz. Still seeking two heartfelt confession pieces for my two leading females, I found such songs in Evitaand Grey Gardens. While neither of these is based on show business on the surface, they feature characters that either worked in the entertainment industry or dreamed about it.
With the exception of Evita and The Last 5 Years (both of which have been done in recent years in Columbia); and Grey Gardens(which will be presented this season at Trustus), all of the musicals from which I have chosen songs either have never been produced in Columbia or haven’t been produced in several years. To boot, several of the aforementioned shows are largely forgotten, but I believe that their songs and stories are simply too good to be banished to theatre oblivion.
More to come from Charlie — but don’t delay! Get your tickets for Backstage at www.towntheatre.com. A complementary reception will be held beginning at 7:15 PM. Curtain time is 8:00 PM!
In 2014, I had the pleasure of directing a concert presentation of Stephen Sondheim’s Follies as a fundraiser for Town Theatre. It was an exhilarating, rewarding, creative and, above all else lucrative experience, that not only showcased over 30 of Columbia’s most talented singers and dancers, but exposed audiences to a number of Sondheim’s seldom heard (in Columbia) masterpieces.
In the Spring of 2016, I approached Town’s Executive Director, Shannon Willis Scruggs, about another potential project for the Summer. I was itching to not only direct something again, but to also again reap the numerous benefits for both Town and the community that I had with Follies. I had a few specific musicals in mind, but Shannon suggested a more artistically stimulating idea: what if I found a common theme among several different musicals and crafted a story of my own, using the characters and motifs from these shows as a starting point. An idea dawned on me: show business! There are so many entertainment industry musicals with similar themes, characters and story lines. I had a plot constructed in my head in minutes. I would take the standard, often-used keynote of an older actress threatened by a younger one and place it in a context that would allow other performers to present entertaining and humorous anecdotes about life in the entertainment world.
The aforementioned keynote plot had been utilized in any number of plays, musicals, screenplays, and stories. Early movie musical star, Bebe Daniels, at the tender age of 32, was the “older” actress made to feel insecure upon the arrival of the pert, younger Ruby Keeler in 42nd Street. Vocally untalented Jean Hagen was green with envy toward the lovely Debbie Reynolds in Singin’ in the Rain. On a totally different level, the seasoned Susan Hayward fought tooth and nail against the rising star of Patty Duke in Valley of the Dolls. But perhaps the most famous story line that falls into this common motif can be found in both a motion picture and later a Broadway musical, both based on the same short story: “The Wisdom of Eve” by Mary Orr.
The movie is of course All About Eve and the musical is Applause. In both adaptations, the fabulous Margo Channing struggles to maintain her dignity, sanity and career when the young Eve Harrington infiltrates her world. The 1950 film deservedly won the Academy Award for Best Picture, and featured exquisite performances by Bette Davis as Margo and Anne Baxter as Eve. The 1970 musical won the Tony Award for Best Musical and allowed the usually dramatic actress, Lauren Bacall, a chance to sing, dance, and hold her own as a new Musical Star. Even more impressive, in my humble opinion, was the performance of the brilliant Penny Fuller, who seemed to take the character of Eve to a multitude of additional levels. When Bacall had decided her time with the successful musical had come to a close, she was replaced by none other than Anne Baxter, who was eager to portray Margo this time.
These musicals and films rank among my favorites, and for good reason: they each narrate a similar show business fable characterized by age, jealousy, revenge and envy. As a performer, how many times had I been an eyewitness to backstage drama. Obviously, such drama would be a cornerstone in the plot that I began to construct. But, there’s more to show business than just drama: there’s passion. Performers, as all artists do, create because they are driven by a force that they cannot control. Rue McClanahan described the call to act on stage or film “a religious experience.” Rightly so, if you ask most artists, they’ll usually explain that they put in the time, work and endurance simply because they must. Their lives aren’t complete without fulfilling that urge to express themselves. As the original cast of A Chorus Line stated: “can’t regret what I did for love.” It was then that the second part of my plot dawned on me: allow my characters the chance to share stories, experiences, anecdotes, and general feelings about their lives in “the biz.” More than just recollecting, I also wanted to give my characters an opportunity to have some fun: workshop ideas, sing songs that they’ve always dreamed of singing. Where else would be the perfect place for my characters to accomplish these tasks other than a bar? More specifically, a bar owned by, run by, and catered towards actors. A bar that was constructed on the stage of an abandoned theatre in Brooklyn. A bar with a simple name, like “Backstage.” And why not make the name of this bar the title of the show? Most of the action will occur there anyways, and doesn’t that word bring to mind everything I am hoping to convey through my story? So there you have it: the show will be entitled Backstage: A New Musical Revue.
Someone should really speak to the Human Resources Department in this place! Have you seen the outfit that Morticia is wearing? I am sure it is not in line with our dress code policy. And while we are at it, I hope someone talks with Gomez about his choice of humor; he may need to attend sensitivity training. Both Pugsley and Wednesday need to be reminded of the workplace violence prevention policies and that they are not allowed to bring torture weapons or explosives to work. I am absolutely positive that Fester is having an inappropriate relationship with a co-worker, but he claims they’re not actually dating. In fact, every single person in this organization: living, dead (and undecided) is probably breaking some rule or regulation in one way or another!! But wait ~ HR actually approves of this?
Why, YES! Yes, it is true that with any company these types of problems would keep any HR Director busy all day and probably pulling their hair out. But when you are talking about the fantastic musical theater production, The Addams Family, these are just fun parts of the plot. What is even better is that each of these characters, and the rest of the ensemble, are wonderfully quirky and a delight to watch on stage. None of this happens by accident, it only happens when you have a remarkable team come together to deliver a quality performance.
I have spent most of my adult life working as an HR professional; first in the military, and now for a state agency. Human Resources is an important function for any organization because people are the most valuable treasure in that organization. I had a boss that said “Love Thy Treasure” and he meant take care of your people. But HR is challenging as I am sure you can imagine. People have lives. They have problems and concerns and it often falls to HR to help. So there is a great deal of responsibility to work here. Sometimes such responsibility wears even the most positive, cheery, optimistic person thin and they need a break or refuge. Theater is mine.
My first theatre role was as Michael in Peter Pan, complete with the footy pajamas, more than 30 years ago. I fell in love with being on stage and performing. For me, having the chance to entertain an audience and see immediate reaction just charges the batteries! As I traveled and moved in the military, small community theatre shows were my hobby and I enjoyed every opportunity to act, especially for my fellow Soldiers. When my family moved to Columbia and I was planning to retire from active duty, I was so excited to find such a vibrant theatre community in the area. The reputation for Town Theatre to produce quality family-oriented shows that celebrate both the familiar traditional shows and the new genre fresh from Broadway and the Touring companies was certainly a draw for me.
I have now had the privilege to be in three of Town’s shows: Disney’s Tarzan, Singin’ in The Rain, and now The Addams Family. Each one has been a fabulous experience. But The Addams Family has been truly special. For one, I joined the cast late as a replacement. From the very first rehearsal I was warmly received and it felt like I had been part of this group all along. When you spend hours each day over several weeks, you become a tight knit group. Each dance rehearsal we could see each musical number coming alive (or at least un-dead) and you can’t help but want to sing the songs. As this show came together you find yourself laughing at the laugh lines and jokes, as with any comedy show. However, what was different was you still have folks laughing days and weeks later even after hearing the same line numerous times. Not because the writing is so clever, but because the delivery and adaptation of the characters by these actors is so well done.
I guess this is the point from an HR professional’s perspective. It’s about the people. The cast and crew and leadership are what you want in your organization. They are caring, generous, capable, professional and serious about their craft. This group of volunteers give of themselves for others to have an enjoyable, memorable experience. I am proud and honored to be part of this team. So much so, that I have actively encouraged my day job office mates to come check out the show. It’s doubly satisfying to entertain one group of colleagues by singing and dancing on stage with another and give both groups some insight into this HR Director’s personality.
If your company was fortunate enough to have the kind of talent that is behind The Addams Family at Town Theatre, it would likely be one of the companies that are featured as “Best Place to Work.” It’s a great chance to have a night out with your co-workers. It makes for some fun conversations around the water cooler on Monday. So, consider it a team building exercise highly recommended by HR.
When I found out that Town Theatre was going to be doing The Addams Family, I knew I had to audition! Creepy and kooky were two things right up my alley. I actually walked in to audition for Pugsley Addams. Yep, I wanted to be the Addams’ son. (I didn’t think I would actually get it, but I needed to try for me.) So, on January 17, 2016, I drove to Town Theatre for auditions. I was extremely nervous. I had some friends with me — Tassie Collins and Danny Niati — they were my rocks for this audition. They kept me calm and even helped me with the dance routine. (And — it is so cool that they are sharing this show with me on stage!) Finding out I was cast was an even bigger moment for me. I was actually seeing a show when I felt my phone buzz. I was so excited that I wanted to tell everyone, but since the cast list wasn’t posted, I had to wait. It was an excruciating few days to say the least. When I could share the news, I shouted it from the mountain top. I had people telling me how excited they were and how they all wanted to come and support me. It was an amazing feeling. My journey had started.
I rehearsed more than I ever had ever rehearsed before. It made me smile every time I saw the people with whom I was going to share the stage get more into their own characters. With every line dance and bunny hop, we moved closer to an amazing show. Even with all of this practice, I was still terrified. I hadn’t been in a production since I was in high school. Would I mess up or fall on my face? Would I forget where to stand or how to move? Opening night was fast approaching.
My heart was pounding as I waited for the crypt doors to open and make my way onto the stage. As I walked out, the lights were so bright! In a flash, the opening number was done. It was the most amazing feeling in the world. Not being on stage — not the rush of performing. That feeling that was lifting me up was the support I had received from my cast mates — their pats on the back, their nods of encouragement. The cast of this show truly has become a second family to me. Every person started as an individual, but has come together to make this show something of which we are all very proud.
I am proud to say that I am a part of such an amazing cast and crew. I am proud to have been given the opportunity to perform and to be seen. I am proud that people have put their trust in me and support me. I’m also proud to say that you… yes you… you need to follow your dreams. You need to get out there and do what makes you happy. You need to try new things. If it doesn’t work out the first time, don’t give up. No one should ever have to ask, “what if?”
So as we launch into our third week of shows, I can only tell you how much I am enjoying being an Addams. And I know you will enjoy seeing us too! Snap snap!