Celebrating a successful first five years, the theater plans a bright future 

Five years after local theater mainstay Scott Richardson quipped to friends, “I bought a theater. Won’t this be fun!” the Legacy Theatre is alive and well. Thriving under the watchful care of Richardson, the executive director, backed by a loyal and intrepid board of theater enthusiasts, most of whom have been with him since the purchase, the Legacy remains a viable and vital part of the central Illinois entertainment scene.

Used primarily as a home for productions by resident companies Roxy Theatricals and Sandbox Children’s Theatre Company, the space is also available as a rental for concerts, weddings, recitals, film showings and many other events. But more than that, the building became a home for a community of likeminded artists to express their love of theater through work on the stage. The space is now comfortably positioned as the mid-sized, regional theater Scott envisioned when he purchased the deteriorating former theater building located near the intersection of Second Street and Lawrence Avenue in April of 2011. The 300-seat venue, built in 1950, underwent a major renovation in the first few months of the new ownership.

The Legacy, named so to honor the rich theatrical heritage of Springfield’s only dedicated live theater building, has grown into a full-fledged member of the artistic community, while updating parts of the physical building as needed. They just recently completed a successful run of Sister Act and through the years produced a variety of house shows, as well as hosting various private promotions. Upcoming events include a fundraiser concert by St. Louis acoustic rockers Rogers & Nienhaus (with special guest Tom Irwin) on Aug. 5 and a three-week run of Peter and the Starcatcher beginning Sept. 16. The summer series for 2017 boasts a production of The Newsies, a recent Tony award-winning Broadway hit that only a few regional theaters received permission to produce. Just weeks ago the exterior of the cinder block building got its first coat of paint since the mid-’60s and before that the in-house sound system received a needed update.

We met upstairs in the office area, where I spoke with the folks that are the heart and soul of the Legacy Theatre, five members of the loosely organized “advisory board” who, along with Scott and a few others, make the decisions concerning what happens at the venue. As we visited I was struck by the deep camaraderie between the friends and co-workers, based in trust and fellowship, creating a feeling of family beyond the bonds of work. The tight-knit group teased, complimented, laughed at and applauded each other in turn, as we discussed the five years of participation in restoring the building and reputation of the facility now known as The Legacy Theatre.

First up in the discussion was Judy Denton, who began her professional life as a music major on the pipe organ. As she discovered only few opportunities for a pipe-organ career, she ended up at the original Springfield Theatre Centre in 1974. Judy played piano for a show, then moved to working with vocals and by 1977 she was president of the Theatre Guild. Now she passionately spends her time with the Legacy group, occasionally conducting the orchestra, mostly working as vocal director. When I asked her how she felt about the rebirth of theater in the old building, her response was heartfelt and touching.

“It’s like you had in your head something you really loved and lost – and you get the chance to do it again,” she said. “Who wouldn’t do that? It’s like having a second chance.”

As Scott and Judy discussed in detail the exact moment he told her about buying the building, the conversation turned to those first few months of ownership. The original plan of taking six months to refurbish and reopen the long-neglected building changed quite suddenly early in the process. Roxy Theatricals, Richardson’s theater company, was set to do a production of The Marvelous Wonderettes at the Springfield High School auditorium in July. When the deal fell through in early May, he made the decision to present the play at the newly remodeled Legacy Theatre on July 15, three months earlier than the intended opening. Plans to keep the move under wraps until all the details were settled took a different turn early in the process.

“We planned to go ahead with the move to the Legacy, but I hadn’t told the Wonderettes yet and we hadn’t publicly announced our plan, but we did have a billboard sign designed and ready to go up in June,” he explained. “The billboard company thought they were doing us a favor by putting the signs up three weeks early, so I ended up surprising the cast with the news of the move before they read it on a billboard. Many of them were actually thrilled because they had done shows here as kids.”

The early opening put the cleanup in high gear. What proceeded was, according to Richardson, “weeks and weeks of utter madness” as several contractors and scores of volunteers joined in a flurry of activity to ready the space for the play, while simultaneously hosting rehearsals. From dealing with water two feet deep in the basement to removing mold, fixing the walls and patching the floor, the effort was heroic and still “blurry” to Scott. As he called the time “crazy,” Wendy Hayward, currently the Legacy business manager and prop coordinator, chimed in: “It was awesome.” After a good laugh, she got a bit teary discussing her first experiences at the old, now new again, theater building.

“I remember meeting Scott here right after he bought it. He had just gotten the keys. After opening up the window upstairs and looking out into the theater, I’m thinking, my life is going to change, it’s really going to change.”

When Judy added with a laugh, “and it did, didn’t it?” Wendy replied, “Yes, it was a dream realized.”

There were more tales of those early “maniacal” months before the first show, from renting a large portable air-conditioning unit, nicknamed “the Octopus” for all its hoses, to stringing white “Christmas” lights across the theater ceiling because no house lights were available yet, until they reached the dilemma of no carpet for opening day. When Scott reminded them, “3,500 square yards of red carpet was apparently not a stock item – who knew?” the conversation took a poignantly funny turn as Susan Collier, choreographer since the Theatre Centre days of the 1980s, offered a particularly telling tale of Scott Richardson on the Legacy Theatre’s opening night.

“I remember at the first performance he walked out there on stage, and he doesn’t do that, but he had to because it was the first show and really important,” she commented. “He gave this beautiful welcoming speech, then he said ‘bow your heads’ or something.”

Scott laughingly interjected, “I didn’t say, bow your heads!” “OK, OK, it was, ‘Close your eyes,’ that’s what you said,” Susan corrected her story. “We thought, oh, is he going to say a little prayer or something? Then he just said, ‘Now, imagine carpet,’ and that was that.”

Since that first opening night, many wonderful and exciting events made it through the doors of the Legacy – some on stage and others through the continuing renovations. One of the best moments came when that red carpet finally arrived. Richardson called in the group and gave Sharpies to all and requested “positive messages” be written all over the floor. All those special comments are still there, under the carpet, perhaps actualizing or perhaps, just there. Either way the Legacy folks sure feel good about them.

Part way through our conversation, audio director Nick Smith made it to our gathering. He’s the man responsible for the sound system and works to make the behind the scenes magic happen. Anyone fortunate to see the Legacy production of Mary Poppins saw a good deal of Nick’s handiwork, from the flying couch, backwards banister sliding and other magical moments.

Susan brought up her choice for an upcoming production, Peter and the Starcatcher, one she’s had in mind for a few years, but is just now becoming available for theaters such as the Legacy to stage. As I sat there, the crew went into production mode, basically ignoring the interview in a spectacular exchange of ideas that solved some upcoming issues. Nick showed his recent work creating an amulet necklace necessary for the play. Made from plastic on a 3-D printer, the prop is designed to be remotely activated with battery-powered LED lights in order to follow the storyline of the play. I sat back and listened as the informal “board” meeting took place, until we came back to the present from planning for the future.

When we were discussing how long this magical adventure at the Legacy might continue, the answers offered some insight into what makes the venue a success. Susan told us that when asked when she would stop choreographing, she simply said when Scott quits doing shows. Nick spoke eloquently of the reasons he felt the organization worked, praising Scott for being a good and fair leader who gave creative control to the team around him, much like a more famous creative entertainment mogul.

“I know I’m not alone in this, but there’s no one else I’d rather be working for or with. This is our own little sandbox where we can make, build, design, talk, party, produce and do a show whenever, wherever we want,” Nick said. “We all have keys to come and go to work on things. He’s like our own Walt Disney.”

When the laughter from that comment died down, Wendy explained how this was her free time and she wanted to spend it with enjoyable people doing something creative and constructive. She praised the “amazing team” surrounding the Legacy and Scott, basically giving credit to the artistic freedom found with fellow artists as the reason she feels it all works so well. Susan talked about leaving the theater after planning for hours, then standing in the parking lot still talking about projects, until someone said, “Is this a board meeting?” and all agreed that’s as close as it gets to a formal organization.

Along with those at the interview, tech director Jeff Nevins was instrumental from day one and Luke Becker, tech assistant, came aboard a few years ago as a vital member. Current costume coordinator Mary McDonald, who helps in everything from volunteer coordination to grant writing, was also there at the beginning of the adventure.

“It’s not a finite group either. Almost every show we do, it seems, someone new joins our team,” Scott explained. “Different skills and talents make it happen. It’s so cool. It’s a good vibe.”

And speaking of vibes, no discussion of the Springfield Theatre Centre building is complete without asking if the place is haunted. The legend goes so far that the theater is ominously mentioned in a book by Troy Taylor called Illinois Hauntings as likely being, “the most haunted building in Springfield.” No one in our group offered up any strange stories of the supernatural. Scott deals with comments from theater-goers at nearly every show asking if the place is haunted. He refuses any ghost hunting on the premises. He sums up his take on the issue succinctly with a consistent statement delivered to anyone who asks about Joe, the resident spirit, including me.

“We have many friends here, both physical and non-. Everyone who comes with love is welcome to stay,” he said. “We mean that literally. Joe is here, but there are so many others from the past who’ve dedicated time to making this place be what it is. They all deserve our love and respect.”

A tragic loss from 2012 still tugs at the heartstrings of the group. Founding Legacy member and musical director Jason Goodreau died suddenly in the middle of the house production of Legally Blonde. Mary Myers, a local theater stalwart and friend of the Legacy, worked with Brendan Finnell, assistant musical director, to continue the show. Upon completing their performance the very next night following Jason’s passing, the cast gathered around the orchestra pit and clapped to the beat until the final note was played. That sense of love and commitment embodies the very ideals of the power behind all that happens at the Legacy. His creative force and genuine personality is still “terribly missed” by all who knew him, especially his good friend Jeff Nevins.

“I worked with Jason at the museum before he brought me in on a theater show. I met my wife through theater connections from knowing Jason. I owe a lot to him,” Jeff explained. “His spirit is what we bring to the Legacy. It’s a real labor of love here and like a family of friends doing what we love to do. We have a ridiculous amount of fun and hope it translates to the other side of the footlights.”

The theater building is owned by Richardson and leased to the nonprofit company that uses the Legacy Theatre. The nonprofit is debt-free and proud of that fact. When it needs something such as a piano for the stage or a couch for the lounge, the object gets researched, then paid for with cash on hand when purchased. The group has never asked for funds, though many people have donated money and items, along with lots of precious time. This fall marks the first fund development program and it will target a yet to be identified specific need, not just a random request for dollars.

While visiting with the Legacy group the notion that the building has feelings popped up more than once. Jeff mentioned it “felt depressed” when they first walked in and Scott talked of “feeling welcomed” when he first stopped by before the purchase. Everyone had something to say about how good it feels now and the positive force noticed on a regular basis within the walls. These reactions and notions may seem silly or unreal to some, but to the Legacy folks, this is a reality developed from saving the building and the emotion attached to such an incredible artistic endeavor based on love and respect. But would they do it all again?

“I’ve not had a moment of regret in five years – never had the ‘What was I thinking?’ moment,” Scott said. “There were times I thought, holy mackerel, I’m exhausted, but never once did I think this was not a good thing.”

Contact Tom Irwin at tirwin@illinoistimes.com.