Community theater teaches lessons on the arrangement
There is a question that begs to be asked.
Why do people agree to give up so much of their time, energy and fragile egos to do community theater?
I’m not quali ed to answer that question, but I am one of the legions of such strange characters who agree to such an arrangement. Of late, I have agreed to assist in the Emmett Hook Center production of Victor Hugo’s immortal classic, “Les Misérables.”
When Hugo was dreaming up Jean Valjean, Inspector Javert, Cossette, Eponine, Fantine and the cast of characters who populated his book, I feel certain Shreveport was not on his mind. That’s because he did not know about Dr. Will Andress.
Andress has been determined to produce “Les Misérables” for the Shreveport stage since he rst saw it. He dogged the licensing agency until it became available and submitted his request for the rights. Now, all he needed was a cast and crew to make it a play.
Richard Folmer agreed to become the stage director to Andress’ musical direction. Folmer, as early as December 2012, made oblique references that he’d like me to act as his stage manager.
I have more than 30 years of experience directing live television. I have directed plays for the stage, acted in them and performed various backstage functions. I make no excuse for agreeing to assist Folmer because I never actually did, and he never actually asked. We both assumed the collaboration was inevitable.
Approximately 120 actors expressed interest in performing in the show. The task of winnowing that number down fell to Andress and Folmer. Some familiar local musical actors were not among the interested, drawn by Stage Center’s “Nine to Five” and Shreveport Little Theatre’s “Company.” Some stage newcomers and a few musical veterans would provide Emmett Hook Center with its nal cast list.
Imagine being responsible for a list of more than 60 actors cast in roles for the show. I’ve been doing it since May, and I still can’t imagine it. Every day there are questions of all descriptions. “Do we get complimentary tickets for being in the cast?” (Talk to Dr. Andress.) “If I’m in a scene, but don’t have any lines, do I have to come to rehearsal?” (Yes.) “I’ll be out of town when the show opens, can I still be in the play?” (What?) Rehearsals were an adventure. Most of the cast were accomplished singers but had little or no stage experience. Folmer’s rst task was letting them know it was permissible to move and sing at the same time. Theatrical terms such as “stage right” and “downstage left, required explanation.”
Beside those technicalities, the scheduling was daunting. Who needed to be at a rehearsal and when? Could we arrange the times when actors were “called” – i.e., required to be at the theater prepared to rehearse? Could we arrange the schedule so those students still taking classes would not be out too late on a school night?
The biggest headache for community theater is each cast member has a life. They have familial and job responsibilities that, of necessity, trump their unpaid theatrical adventure. It becomes especially interesting when you have almost 60 cast members who are integral to the show and you have to try to coordinate each of those lives with a workable schedule that actually prepares them for an audience.
The stage manager’s task is to encourage, remind, cajole and herd disparate personalities toward a common goal, while keeping the directors and choreographer off your back. You must also know why a prop was not where it was supposed to be and what each actor’s cue to enter the stage is. When an actor is not at the theater, you are supposed to know where they are and why they are late. Those are the times when you wished Scotty could just “beam” them aboard.
As I write this article, we have performed the show for more than 900 people. We have another six performances, at least, to complete. When the nal curtain call is taken, “Les Misérables” will be another feather in Andress’ cap, another job well done for Folmer and his wife, and if the theater gods smile, an audience favorite.
Personally, I will take away a new set of friends and theater co-workers. The question is, will I have learned my lesson about agreeing to put myself through the agony and ecstasy of local community theater That is an answer yet to be learned.
Joe Todaro may be reached at [email protected].
