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Enjoy the Ride

02/27/2017

Guest blog by Chip Collins

So what do you do when you are (arguably) the lead character in a musical, but you don’t sing any of the songs?

You enjoy the ride.

When I first saw that Town Theatre was going to produce Million Dollar Quartet, I immediately thought, “I want to be Elvis.” There was a reason for this – while playing Sandy in Elvis Has Left the Building back in 2014, my character was hypnotized and “became” Elvis.

Chip Collins as Sam Phillips. Photo courtesy of Megan Moore Memories.

Seemed like a natural progression, right?

Until I read that the characters have to play their own instruments. Uh-oh. The last time I touched a guitar was when someone taught me how to play the first couple of bars of “Hotel California” in high school (no, I don’t remember how to play it now). So, after obtaining a perusal script, I discovered that the character of Sam Phillips was perfect for me. And, boy, am I glad I made it, because these fellas (and lady) that are the real stars of this show are awesome. Our directors, Shannon Wills Scruggs and Jeremy Hansard, have put together an incredible group.

Ladies first. You can’t have a bunch of men sitting around in a group without a woman to keep them straight, and Sheldon Paschal certainly keeps all the guys in line. She brings a sultriness to the studio that keeps all of the guys just a touch off center (which is where artists are supposed to be, right?), and her rendition of “Fever” brings another dynamic to the show.

I’m not the only one who was hypnotized in Elvis Has Left the Building. My partner in crime, Charlie Goodrich, had that misfortune (or perhaps, fortune?) as well. But here, Charlie has traded in the white one-piece jumpsuit for an all-black wardrobe, playing a dead-on likeness of Johnny Cash. There are times when I close my eyes and listen, and I am really not sure whether I’m listening to Charlie or Johnny, and that is a testament to Charlie’s talent.

In this show, Elvis is played by Matthew Harter, who joined us later on in the process, and I am SO glad he did. There are some people you just look at or listen to the first time, and you know they’re special. Matthew is one of those people. Even though he is the youngest person in our cast, you would never know it. His voice is just pure, and he has really channeled all of the things that made Elvis the superstar that he became.

Of the four superstars in the Million Dollar Quartet, the one I knew the least about was Carl Perkins. However, after watching and listening to Alex Cowsert play him night after night, I want to know more. When I hear Cash, Elvis, and Jerry Lee Lewis, it’s only natural to compare the people playing them to the actual person. Well, when I listen to Carl Perkins, I will forever compare him to Alex. When he is playing and singing, the boy OWNS the stage. He performs with such a conviction that you want to focus on him and have him keep playing.

Jerry Lee Lewis? The man was overflowing with energy, and Jeremy Reasoner is no different. We’ve seen his singing talent on stage in Les Miserables and The Little Mermaid, but he will blow you away when you see him on the piano. There are some people who are musically talented in just about every way possible, and he is one of those people. He’s our de facto musical director on stage, and he really keeps things together.

I would be remiss if I did not talk about our killer rhythm section/studio band. Mikey Lowrey gives us a great steadiness as our drummer (and he chews his gum on the beat, too). Caleb Everson on guitar is such a talented guy with a quiet self-confidence about him, and you never know what he may be playing during down times (personally, I’ve heard both the theme song to “Jurassic Park” and Jimmy Eat World’s “The Middle” – goodness knows what else he has thrown in there. And Landon Osteen on the stand-up bass and acoustic guitar really makes these songs special.

It is truly a blessing to be able to sit back and hear these folks perform. Come to think of it, I’m glad I don’t have to sing.

It lets me enjoy the ride.

Main Stage

The Story Behind the Play

01/30/2017

Guest blog by Milena Herring

It has been a dream of mine to direct You Can’t Take It With You for a long time. My love affair with this Pulitzer Prize-winning play began in 1969 when I watched, with fascination, the rehearsals of a Workshop Theatre production of You Can’t Take It With You. As an adolescent who loved everything to do with theatre, I often went to rehearsals with my mom when she was in a show. This was before Workshop had a home theatre of its own.

The play was rehearsed and performed in one of the wonderful old theaters on the base at Ft. Jackson. I was enchanted by the ‘30s style and setting, and I thought it was the funniest play I’d ever seen. And no wonder- – it was directed by Mary Arnold Garvin and starred some veteran Columbia actors including Jim E. Quick, Bette Herring (my mom), Tinka Tiemann, Malie Bruton Heider, Johnny DeHart, David Smoak, and Gene McKay, to name a few.

Flash forward 14 years to 1983. I was a young twenty-something, newly settled in Manhattan, trying to find work as an actress and director. One of my dear friends in New York was a fellow Columbian, Karl Allison, who had been in the city for a decade and was making his mark as a successful producer of Broadway and off-Broadway plays.

His most recent production, still in previews, was a revival of You Can’t Take It With You on Broadway. Directed by Ellis Raab, it starred Jason Robards, Colleen Dewhurst, James Coco, and Elizabeth Wilson. Karl invited me to be his date on opening night at the Plymouth Theatre and to the cast party afterward at the Rainbow Room. After quickly accepting his invitation, I spent the following weeks searching for an elegant dress to buy and expensive jewelry to borrow.

After being introduced to numerous bold face actors and celebrities on the way into the theatre on opening night, I worried I wouldn’t be able to focus on the play. But as soon as the curtain rose I was immediately transported to the comfortable, eclectic home of the Sycamore family in 1936. The production was marvelous with outstanding performances by Robards as Martin Vanderhoff, Wilson as Penny, and Dewhurst as the Grand Duchess who wrung a laugh out of every line she uttered. The play was as hilarious and joyful as I remembered from my youth but the biggest impact of the production on me was that the director and actors created real people out of what could have been just zany stereotypes. Moreover, the director knitted the entire ensemble into a big, lovable family that anyone would be proud to call their own. The show ended with the audience and the actors singing “Good Night, Sweetheart.”

Then it was off in a limousine to the cast party. Stepping off the elevator on the 65^th floor of the NBC building into the iconic Rainbow Room, we were greeted by a waiter with flutes of champagne. A full band was playing music from the 1930s at the other end of the room. Karl led me to a table beside the famous revolving dance floor. Suddenly, I found myself sitting next to Robards at a table that included, off and on throughout the evening, Lily Tomlin, Dewhurst, George Hamilton, Coco, Meg Mundy and many, many other actors and industry people. Everyone was in high spirits since it was clear the show was a big success. The rest of the night is a blur but the next morning, Frank Rich, theatre critic for the NY Times, highly praised the production in his review and declared it “A family to adopt.”

Directing the Town production of You Can’t Take It With You brings my love affair with this play full circle. This cast is truly a dream team and is complemented by an equally talented crew and production team. Danny Harrington, Town’s technical director, has created a beautiful set and Jillian Carey’s costumes perfectly match the characters and the era. It has been a privilege to work with everyone at Town Theatre again this year. This play has been with me since the beginning of my life in the theatre. And it is an honor to say it has never been a disappointment.

Uncategorized

Youth Theatre Enrollment Guidelines

11/29/2016

Enrollment:

Enrollment begins Monday, Dec. 5 at 12 noon. The theatre doors will not be open prior to 11:30 AM.
Due to limited space, we strongly suggest that someone come to register the students in person. If that is not possible, fax or e-mail forms will be received, but please know it may be more difficult for these students to secure a space in the class due to the logistics of the day. Faxes and e-mails received BEFORE 12 noon will be put at the back of the line.
No registrations will be accepted prior to 12 noon.
To keep the process as fair as possible, we cannot allow one person to register multiple students UNLESS those students are siblings.
If you are enrolling siblings, please submit one complete form for each student.
To speed up the process, please have your form completed upon arrival.

Main Stage

A Feather in Your Cap… or Hat!

09/06/2016

Anyone who has even been around any aspect of community theatre knows the expression “many hands make light work.” While that may or may not be true, it certainly resonates with our season opening production of My Fair Lady. The show’s elaborate costumes are under the design of Janet Kile. Janet has worked with all the theaters in the Midlands and surrounding areas throughout the last two decades. She has worked both on and off stage. According to Janet, she has a preference for the off stage component which allows her to, “bring the show to life with color and texture.”

And that she does! One of the popular scenes of My Fair Lady involves the horse race at Ascot. Men don their white gloves and spats while the ladies of the era showcase elaborate hats. The lack of color — restricted to black and white — is also critical for the Ascot look. As such, Janet gathered a group of costuming crusaders with hopes of creating perfect Ascot hats for the production. Not only did she want the look to be just right — she wanted to have fun while doing it! On Labor Day, while many enjoyed the sun and surf, Janet and her team of wonders had a tea party in the lobby at 1012 Sumter Street and did their very best to exemplify how, when working together, the load becomes lighter.

Janet, alongside Nan Weaver, Jean Lomasto, Nancy Dunlap, Sandra Willis, Jillian Carey and Becky Patrick (who also doubles as a cast member), enjoyed high tea while crafting the afternoon away. Feathers, ribbons, gemstones, flowers, accoutrements galore — you name it. If it was black and/or white and could be affixed to a hat — indeed it was! With a primary purpose of working mightily on one the show’s iconic looks, Janet was sure to make sure that the bedazzling bonnet brigade enjoyed their afternoon — complete with cucumber sandwiches, deviled eggs, petit fours and, of course, tea! The luncheon was catered by Ripley Thames.

“Hats off” to all of our wonderful volunteers who made the afternoon so much fun. And, of course, we also “tip our hat” to costumer Janet Kile.

Events

Backstage… adding our talented cast

08/19/2016

Guest blog by Charlie Goodrich

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.

The cast and crew of Backstage! Photo credit: William Refo

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!

Events

Backstage… putting it together

08/16/2016

Guest blog by Charlie Goodrich
Part Two

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.

Seesaw and Applause are 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 Act and The Boy from Oz. Still seeking two heartfelt confession pieces for my two leading females, I found such songs in Evita and 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!

Events

Backstage… under construction

08/15/2016

Guest blog by Charlie Goodrich

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.

Ruby-Keeler-George-Brent-and-Bebe-Daniels-in-42nd-Street-1933 — Ruby Keeler, George Brent and Bebe Daniels in 42nd-Street (1933)

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.

anne-baxter-bette-davis-all-about-e — *Anne Baxter and Bette Davis ~ All About Eve*

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.

annebaxterpennyfullerapplause — Anne Baxter and Penny Fuller ~ Applause

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.

Get your tickets here… www.towntheatre.com!

Check back tomorrow for part 2 of Charlie’s blog which discusses more of the song selection for his show!

Events

James Gregory coming to Town!

08/02/2016

James Gregory grew up watching stand-up comedy on programs like Jack Benny, Milton Berle and the Ed Sullivan Show. After some nudging from his friends, he started doing open mic stand-up in Atlanta and things just took off. Today he performs his down-home stories of food, funerals and funny relatives to sold-out theatres, casino’s and corporate events working 48 weeks of the year. He’s also a regularly invited guest on national radio shows, like The Bob & Tom Show, Rick and Bubba and The Big Show with John Boy and Billy.

E JG from Mark arly in his career he earned the moniker, “Funniest Man in America,” but, he’s quick to tell you, “At that time there were only 13 states.” His jokes are squeaky clean as, he says, “My mother wouldn’t let me tell them if they weren’t.” It’s the kind of show you could feel comfortable bringing your date or your grandmother.

What’s really unique about Gregory is his appeal to people of all ages, races, creeds and colors. It’s not unusual to see three generations rolling in the aisles. He comes off as that funny uncle that everyone gathers around at family reunions, because he has the best stories – and so reminds people of their own families.

While his routines include such Southern subjects as covered-dish suppers, road trips to Stuckey’s, and the healthy aspects of fried foods, it’s a mistake to consider him a regional comic. Says Gregory, “To me, Southern comedians are guys who get onstage and talk about pickup trucks, rifle racks and cow-tipping. I don’t talk about the South; I just deliver my material with a Southern accent. My comedy is based on the real life-the people I grew up with. My notions about food came from them. They all eat fried foods and many of them are in their eighties. Meanwhile you read in the news how some health nut kicked the bucket jogging on the way home from the health food store.”

He says, “People come to a comedy club to laugh. It seems like the new thing in comedy today is ‘stream of consciousness’ or ‘cerebral’ material. I doubt if a husband and wife ever looked at each other on their way to a comedy club and said, ‘Gee, I hope this guy is going to be real cerebral tonight.’ I think they say, ‘He sure better be funny.'”

You could image that after 30 years, a comedian might become a bit jaded. Not Gregory. When he hits the stage, he comes alive like someone just plugged him in, and his fans adore him. After each show, he truly enjoys meeting with fans and signing autographs. He says, “We’re living in such a cynical age, sometimes people don’t believe me when I tell them, ‘I’m really glad to be here’ during my show. But it’s true. I owe them all a debt of gratitude. If not for them, I wouldn’t get to do what I most love.

People wanting to see James Gregory at The Town Theatre, Saturday August 6th can find tickets and information for the shows at www.towntheatre.com or by calling 803-799-2510.

Main Stage, Uncategorized

The Addams Family is HR Approved!

05/24/2016

Guest Blog by James Galluzzo, SPHR

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.

Galluzzo 2 — Photo courtesy of Facebook. James (R) hanging out with some of his fellow ancestors backstage.

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.

Main Stage

When You’re an Addams

05/17/2016

Dori (R) with friend Tassie Collins. Photo courtesy of Facebook.

Guest blog by Dori Rueger

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!