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MSU Music Department Head Paula Patterson Cherishes SLT as Brightest Among Community Theatres

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MSU Music Department Head Paula Patterson Cherishes SLT as Brightest Among Community Theatres

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Missouri State University music department head Paula Patterson has toured the country as a performer and even sang with the Spanish National Opera in Madrid, but she has come to realize in her travels that nothing quite rivals her hometown theatre.

“I lived in cities much larger than Springfield and discovered nobody had a community theater like we do,” she declared. “I just assumed that big cities would have a community theater like we do, but nobody does. They’re like a small room with folding chairs and the talent isn’t nearly at the same level.”

Patterson made her Springfield Little Theatre debut at the Landers in the late 1970s. After graduating from MSU with a bachelor’s degree in music education and a Performer’s Certificate in voice, her studies and stage career took her to Austin, TX, Charlotte, NC, and Santa Barbara, CA throughout the 1980s. When she moved back around 1990, she was craving to rekindle the connection she had with arts in the Ozarks before she left.

“I was looking for opportunities to perform and I went down to Springfield Little Theatre. It kind of became my family,” she smiled. “It was a great thing to come home to and be able to do and make new friends and reestablish old friendships.”

Although she has performed professionally for many years, Patterson never felt hesitation in skipping a paycheck for projects that she loved. When an opportunity came along that sparked her creativity, the money didn’t matter.

“When I moved back here, I felt like I had more performing opportunities than [my friends] did in New York,” she explained. “I had a day job, I wasn’t always getting paid for my performing, but it’s what I love to do. The fact that I didn’t have to rely on it to make a living meant that I could pick and choose what I wanted to do.”

When Patterson initially returned to Springfield, she was performing in NUNSENSE and working temp jobs. When the SLT education director at the time left, she even stepped up to that post for an interim period when, then executive director, Mick Denniston offered her the job.

“The education program, obviously, is not what it is with Lorianne [Dunn], but I agreed to do it,” she said. “Beth helped me a lot and so she kind of took over when I left and built up the program, then ultimately became executive director and Lorianne has the program now. But anyway, I did serve as the Y.E.S. Troupe director for a few months. It really was fun. I had a great time doing that.”

As a teacher, Patterson was a natural with kids, even young performers appearing in their first productions. She appeared as Mother Rabbit in THE WIND AND THE WILLOWS with Mick Denniston’s young daughter, Emily, and son, Colin, who went on to be a professional performer. She also worked with children in SLT productions of SECRET GARDEN, CADDIE WOODLAWN, and AMAHL AND THE NIGHT VISITORS. In THE SOUND OF MUSIC, she was Maria alongside Michael Spyres as young Kurt who is now the artistic director of Ozarks Lyric Opera.

SLT Executive Director Beth Domann even benefitted from Patterson’s vocal coaching when they auditioned together with their friend, Sharon Rector, for NUNSENSE in 1990.

“I helped Beth learn a song because I’m a voice teacher and she’s not a singer,” Patterson laughed. “We all auditioned and went to Village Inn like we always used to do in the 70s and we all got cast. So, it was special.”

During one performance, Patterson needed a little help of her own. She was playing the role of Sister Amnesia who suffers from memory loss after a crucifix falls on her head. When Patterson got off track, she found a creative way to cue the conductor that she was out of sync.

“One night, I literally got lost in the middle of [my song]. So, I kind of stayed in character and the band was dressed like priests and nuns,” she explained. “I was like, ‘Father Casey, I’m lost, and I don’t know where I am.’ I had to do that three times. The third time, I went over, and I was like, ‘Father Casey, I just need to look at the music.’ Well, it was the perfect role, doing Amnesia if you’re gonna forget where you are. I didn’t realize that in comedy, you do things three times. People in the audience thought it was real. So doing NUNSENSE with Beth and Sharon, that was probably my favorite experience and my funniest story of things that happened.”

In addition to NUNSENSE and THE SOUND OF MUSIC, she lists Eva in EVITA and Anna in THE KING AND I as two of her favorite SLT roles. Patterson is content with her catalog of work, but she still encourages students to get involved at the Landers Theatre.

“I had an opportunity to do all my dream leading roles 30 years ago and just had a great time. So, it was a real lifesaver for me. I still love it. I just got married and I got busy and never had time to do as much as I would like,” she admitted. “I make sure that when our incoming [university] students have auditions that I tell them about it. I teach voice, and we have voice majors who come in that really want to be musical theater majors, but our musical theater department is so competitive, so I will tell them about all the opportunities to do musical theater.”

Decades after first auditioning at SLT, Patterson still cherishes friendships, including with Beth Domann. The reward of those lifelong relationships has been worth every volunteer hour spent on the Landers Stage, she said. “[Beth] is still a dear friend and I’m so thrilled with everything she’s done for the theatre.”

See the upcoming Springfield Little Theatre audition schedule for opportunities to join us on stage.

Sandy Skoglund-Young’s Magical, Musical Life in the Ozarks

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Sandy Skoglund-Young is focused, disciplined, and undeniably talented. As a young college student at Missouri State University – then SMSU – she envisioned this formula would carry her off to bright lights and bigger stages. Like so many of the shows she’s performed in, however, love suddenly stepped in.

“I kind of had one foot in the music department and one foot in the theatre department and at that time was sort of planning, well, eventually I’m going to try to make a career out of this. Ultimately, I decided not to do that. And that has a lot to do with – well, it has everything to do with Steve,” she smiled.

Skoglund-Young met her future husband when she served as vocal director of THE WIZARD OF OZ at Springfield Little Theatre in 1982. Although the tall, handsome, and charming Steve Young was difficult to ignore, she was focused on her career aspirations. They reconnected during SMSU auditions where he finally proposed a date, and she excitedly accepted. The meeting never happened, however.

“There was a hiccup in that I stood him up. You mean that?” Skoglund-Young giggled.

She felt such a strong connection that she anxiously skipped out on their first date. Skoglund-Young – rightfully – predicted that their relationship would trump her performance aspirations, and she wasn’t sure she was ready to let go of her dreams.

Since then, Skoglund-Young has had theatrical triumphs, built a cherished family, and has supported countless women through the most vulnerable moments of motherhood as a nurse. She is at peace with her remarkable life and says that the arts in Springfield helped her find a level of contentment.

“Anytime you make a decision like that – you change paths – there’s a lot of soul searching and a lot of pondering about, is this the right thing to do? Am I really, truly satisfied with this decision?” she remembered. “But one of the things that made it okay was the very rich performance environment of Springfield.”

As a renowned vocalist, Skoglund-Young has had many opportunities to perform with the Ozarks Lyric Opera – formerly Springfield Regional Opera. She reflected on one of her most fulfilling roles in SWEENEY TODD as a collaboration between the organization and Springfield Little Theatre. As the macabre and lovestruck Mrs. Lovett, she held down double duty as she was the only person cast in the role while two men alternated as Sweeney Todd.

“And that’s fine. I would not have wanted to share it. She’s mine,” Skoglund-Young joked.

Jeff Carney, who frequently performed with the Opera, and Todd Smith, who led many SLT casts, were both cast as the lead opposite Skoglund-Young.

“You have to stay so present in the moment because of what each ‘Sweeney’ was giving to you,” she recalled. “Completely different relationships with each one of them. I would say probably [SWEENEY TODD] was the most artistically satisfying that took me to the periphery of my ability and my stamina. I thought it was just top notch.”

Skoglund-Young doesn’t lack for memorable leading roles. Highlights include DISNEY’S BEAUTY AND THE BEAST (Mrs. Potts), FIDDLER ON THE ROOF (Golde), and CURTAINS (Carmen Bernstein). She even originated the role of Millie in the world-premiere cast of EXIT LAUGHING by Paul Elliott. She remembered the excitement and pride among the cast and crew when SLT was chosen to debut the winning script from the AACTNewPlayFest.

“Not only was it a world premiere, but just the participation in the competition that the playwrights submitted to have their works considered,” she explained. “The other theaters doing the new works weren’t community theaters. They were regional theaters. Little Theatre was the only community theater that got to premiere one of those works. Just knowing that we had the distinction of being recognized on the same playing field as regional theaters.”

After marrying Steve and giving birth to their son, Ben, Skoglund-Young performed consistently, balancing work and family with her passion. Meanwhile, challenges with her own delivery inspired a massive career shift that required her to return to school.

“[Ben] was born 9 weeks early. I spent a lot of time in the hospital. I was so impacted by what the nurses were doing for me 24/7. I started thinking, ‘Huh, this is good stuff. This is important stuff. I would like to do this for moms who are in my similar situation,’” she reflected.

Skoglund-Young had taken the minimum science requirements at Missouri State University to earn her initial degree. She dipped her toe back in with a biology course to test her aptitude and excelled. From there, she completed nursing school, taking care of high-risk moms in labor and delivery for the bulk of her career.

The burgeoning arts community in Springfield kept Skoglund-Young engaged. Although life steered her away from the performance career she had envisioned, she was able to fulfill her creative calling.

“There was still the opportunity to flex those muscles, to grow those muscles. Grow the technique, all those things. That opportunity doesn’t exist only in other places and bigger cities,” she insisted. “It existed here as well as the top-notch people to do it with and beautiful places to do it in.”

Skoglund-Young emphasized that it isn’t only the artists who benefit from a robust arts community. Ticket holders can see professional level performing arts without having to travel to larger cities and spend money on transportation and hotels.

“I think that Springfield audiences deserve absolutely the same quality productions as anybody else in the world. I think that any of us who do perform in Springfield would not think that an audience on a bigger stage, or a more well-known stage, was more of an achievement to do good work for them as opposed to the people who are seeing us in Springfield.”

Just like the stories she has depicted on stage, Skoglund-Young’s life has been shaped by fate, magic, and love. Even when things look different than she predicted they might, through her generosity, curiosity, and joy, she is able to see clearly the great blessings of her life.

“The main thing is, as life sort of weaves its path with, ‘I’m going to be a nurse,’ ‘I’m also a mother,’ the way things happen, that thread that runs through it all that I always come back to is [Springfield] Little Theatre,” she observed. “Having a performance home and community, it’s just been the throughline through my life that I can always return to, to reconnect with that part of myself. Just having that incredible place to do that thing I love and hopefully keep working at it and getting better at it.”

Tickets are available now for a reprisal of EXIT LAUGHING at SLT.

Singer Judy Luxton Found There Is More to Her Voice Through Unexpected Roles at SLT

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Judy Luxton always considered herself to be a singer first. “I always felt good about acting when there was music behind me,” she explained. “That was my crutch. It kind of filled in the gaps for me in terms of emotional intent and inflections. It was built in. You didn’t have to think about it.”

In 2013, a new challenge changed her perception of her own abilities and opened new opportunities as a performer. Springfield Little Theatre won a grant from the American Association of Community Theatre (AACT) to have first rights to premiere a brand-new work. Director Chuck Rogers chose the riotous and tender comedy EXIT LAUGHING.

Luxton was hesitant to audition for the non-musical, but the rich characters and female camaraderie drew her in after Rogers encouraged her to read for a part. Luxton nabbed the role of Connie and is forever listed in the script as part of the world premiere cast.

“I didn’t really trust my acting chops because if there’s not music to go along with it, I didn’t trust myself. I didn’t have that experience,” she admitted. “EXIT LAUGHING is what really gave me my confidence that I can do that. I got cast and it was an amazing experience. Of course we are all aged out of those roles this time around, so we’re all going to go together and watch. It’s been exciting to see another generation of people doing that show.”

Some roles are timeless and Luxton recently had the opportunity to revisit a favorite character. At the age of 25, she played Pippin’s high-flying stepmother, Bertha on the Landers stage. Decades later, she reprised the role at SLT.

“It was fun to get to do it again last year,” she smiled. “I loved Bertha and getting to do two iterations of her.”

Early in her music career, Luxton was living at Lake of the Ozarks, working at Lodge of the Four Seasons and driving to Springfield weekly to perform with the Mid-America Singers. Eventually, the commute pushed her to move.

She first worked on props for YOU’RE A GOOD MAN, CHARLIE BROWN at SLT then performed in shows like CARNIVAL and 110 IN THE SHADE until she moved to California with a friend. In Los Angeles, she was cast in the original production of the Christian musical RABBONI.

“It started with Creation and went through the whole Old Testament into the birth of Jesus and ended with the Resurrection. It was long. There was a lot to it,” Luxton laughed. “We performed in churches and all over the LA area.”

Luxton eventually returned to Springfield to help a friend raise her daughters and jumped back into SLT productions. Her first lead role after moving back was particularly unexpected.

“The next show where I had a role was MAME and I played Vera. That was a hoot,” she remembered. “I really didn’t think of myself as a ‘Vera’, but [director] Mick [Denniston] made a big point of, ‘If you don’t say you will take a role, I won’t consider you for it.’ So, I just said I will do anything, and then I got Vera and it made me laugh. It was a lot of fun.”

In fact, Luxton was so unlike her famously tipsy character that she developed an unusual ritual to get into character.

“That was during a period where I didn’t drink, and Vera has to be drunk often,” she recalled. “I would sit backstage and make myself dizzy so I could walk onstage and stumble. They would make fun of me because I would be backstage flipping my head around and I would do it just in time to go on.”

Since then, Luxton has appeared in iconic roles including Cinderella’s stepmother. “I got to do Mother Superior in SOUND OF MUSIC the first time they did it. I always said I loved it because I did no dancing, one costume, and had the best song in the show,” she joked. “I got to be Mother Superior again when they did SISTER ACT. Then I got to be the Bird Lady in MARY POPPINS in a scene with Kim [Crosby]. That was really fabulous, and we got to do ‘Feed the Birds’. That was a really great experience.”

Luxton earned her teaching degree in college and taught for one year before switching tracks. She didn’t return to the classroom until 22 years later when fellow educator Alberta Smith put her name in for a job at Pipkin Middle School.

As a teacher, Luxton began bridging the gap between her students and community theater. When SLT held auditions for ANNIE in 2001, Luxton arranged to take a group of pupils downtown.

“They made this announcement that they wanted all these little girls to come and sing ‘Tomorrow,’” she explained. “So, I got a bunch of my little sixth graders and we all learned ‘Tomorrow’. I took them all to the theater. Back then I actually would take them down and get them ready for their auditions.”

For many, it was their first SLT audition and many of them continued participating through adulthood. Today, Luxton said, kids can find casting calls online for themselves, but she helped introduce a generation to SLT.

She taught voice lessons through for many years and jumped in as musical director on occasion. She remembers that the job had its challenges.

“Especially back then, some of the really little shows, the score would come just with the choral music, and I would handwrite out the parts,” she explained. “We’d have four or five pieces in the orchestra, and I would write out their parts. I remember sitting there with my pencil and paper.”

As the community and interest has grown, so have the theatre’s offerings. Luxton praised SLT for opportunities beyond the mainstage season.

“One of the things I think has always been so great that Landers had was those School’s Out Workshops. Kids have something they can do on [days there is no school]. I always thought that was really important,” she applauded. “It has just exponentially exploded with the opportunities at the Judy and the more shows. You almost can’t keep up with how many shows there are.”

Luxton was even married on the Landers stage to her late husband Terry Luxton. The couple would be celebrating their 20th anniversary this summer. “[SLT has] been a wonderful part of my life,” she reflected. “I don’t think I would be who I am now had that not been part of my life.”

After a rich history with SLT, Luxton is focused on the future and new roles she looks forward to.

“As I age, a lot of the roles, you have to let go of that you can’t do anymore. I always wanted to do Lizzie (110 IN THE SHADE), but I’m too old to be considered an old maid at this point,” she joked. “That was one that I had to grieve the loss of. There are some roles that no matter how old I get, it’ll still be okay. I’m hoping that at some point they do THE NOTEBOOK. I got to see that on Broadway and that’s a role I can do no matter how old I get.”

Tickets are available now for a reprisal of EXIT LAUGHING.

After a Hollywood Career, Marty Chaney Keeps Her Passion Alive at SLT

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“I love [Springfield Little] Theatre. I feel most alive in there,” Marty Chaney beamed. After a career in Hollywood working on films like NATURAL BORN KILLERS and earning her membership in the Screen Actors’ Guild, Chaney returned to the Ozarks to raise her daughters. Even after finding professional success in the film industry, she still gets a thrill out of digging into a character.

“It’s so much fun,” Chaney beamed. “When I was up on that stage doing Jeanette in THE FULL MONTY, I couldn’t find the character for so long and I played her all these different ways and [SLT Executive Director] Beth [Domann] came and worked with me for 20 minutes and it was like, ‘Found her!’ That’s just an alive moment. I love it.”

Chaney first stepped on stage in Joplin at only five years old. As her kids started seeking out more activities, she encouraged them to explore the arts. After gaining audition experience, they both eventually found their names on a cast list. After their first show closed, they decided to make a bigger commitment to SLT.

“They got into Troupe, and they loved it, and we lived the life. We really did,” Chaney reflected. “We were there nonstop. It was a golden era. It really was. That was first grade up into high school. I have continued on performing, myself. Sometimes I just drive by and go in and smell it. It just gives me peace.”

During both the summers and schoolyears, Chaney and her family took advantage of nearly all SLT programs. She recalled being impressed by the professionalism of the productions that exposed her daughters to every aspect of the performing arts.

“From the sets, the directing, the costuming, the microphones, how they do the lights, all the education programs and the camps – everything is top notch, well done,” she said. “You go to one of these camps, and it’s like a fully staged theatre with all the costumes and all the effort put in.”

As she “never missed a rehearsal or one performance” that her daughters were called for, Chaney found herself spending more time at the theatre. She quickly recognized the education programs were blossoming and wanted to help fund the growth.

“We would assist the education department with whatever they needed. We started selling roses in the lobby, because we were all bringing flowers anyway. This way, it went back into the theater,” Chaney explained. “We started where you can deliver a rose during the show. Whatever the education department needed, we were there to assist. It was called the SLT Angels and they’re still going today. I’m very, very proud of that. My mom had started an Angel Guild in Joplin Little Theatre.”

With varied interests and programs competing for her family’s time and attention, the Chaney family continued focusing on theatre even with so many other options around town. She said the reason they kept coming back was simple.

“It just became a family. It was a very positive experience and very warm, family experience. You just wanted to do more and more. It’s a great theatre. They turn out great shows. You can get more for your money that you spend being in Troupe than any other program in Springfield, Missouri for your child.”

Both daughters graduated and went into math and science fields, but Chaney said she still sees the impact that SLT training had on each of them. They still tap into their performance experience in their careers.

“At SLT, they learned how to perform, they learn how to be rejected, they learn how to be in front of people, they learn all about how things work, how to make something out of nothing. It was a fabulous education,” she praised. “They did valedictorian speeches. They never were afraid to be in front of people. My daughter, Maridan, is speaking in front of people at KPMG, one of the largest CPA firms in the world. Ruth Ann has to go work in a man’s world as an engineer and they feel confident. I know all of that came from SLT. It’s just a top-notch theatre with just fabulous people involved and the programs are fabulous.”

Chaney has continued performing, entertaining Springfield audiences with her inimitable humor. She said that staying involved has helped maintain the bonds she developed with fellow SLT parents and volunteers.

“It’s a competitive deal and it’s hard,” Chaney admitted. “But the fact with all that being known, and we all came together and took care of each other and love each other outside of the theatre. I had a hardship, and the food came and the friends came and the doorbell rang at all hours to see if I was okay when the girls were young. I lost my sister and the love is there. I want the love to continue and that to be the driving force. The love of the art, the love of the theatre, and the love of each other. I feel like when you get that going, our theatre will thrive.”

Chaney welcomes newcomers and promises that the experience will enrich every family. There’s always an opportunity to be part of a production.

“If you want to get involved, just get involved,” she urged. “Everybody is really kind. Just go and show up. There’s always something to do and there’s always someone to help. If nothing else, it helps yourself sitting in that theatre and watching your child grow. So, get involved. Don’t be shy. Keep asking if you can help until someone says, ‘Yes!’”

To learn how to get involved at Springfield Little Theatre, visit springfieldlittletheatre.org/volunteer.

EXIT LAUGHING Director Mark Gideon Dives into an Action-Packed Season

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Springfield Little Theatre’s 90th EMERALD ANNIVERSARY SEASON has been one of the busiest for educator Mark Gideon. He already landed leading roles in two back-to-back productions and is now in rehearsals as the director of EXIT LAUGHING.

“For me, personally, to go from the Wizard in WIZARD OF OZ to Scrooge in A CHRISTMAS CAROL, that was a big ‘ol deal because I usually do not do that,” Gideon explained. “I do one production, and I disappear, and you don’t see me for several months, but these are two parts that I wanted to really do, and I went for it.”

Even for seasoned performers, no role is ever guaranteed. Gideon wanted to stand out in auditions for the musical version of A CHRISTMAS CAROL, so he threw himself into preparations and showed up ready to claim the part.

“I worked on my audition song six weeks in advance,” he recalled. “My audition for [director] Chyrel [Love Miller] went exactly how I wanted it to go, and so did the cold read on the callbacks.”

He nailed the audition and booked the part, which is both mentally and physically demanding. Scrooge in on stage nearly the entire production, and he even had to wear a harness to fly during a musical number.

Gideon is now in rehearsals for the comedy EXIT LAUGHING, which made its world premiere at SLT in 2013. Every show has its own challenges, but external forces have been threatening to derail the preparations. When snow and extreme cold shut down many establishments in February, Gideon gathered the cast on Zoom to keep working.

“Actually, the Zoom rehearsals have been really good,” he shared. “Everyone shuts off their screen so there’s nothing to look at, which forces them to listen to the dialogue. Here’s the big secret of the theater – your cue is hidden in the dialogue before you speak. All you have to do is listen to that dialogue and your cue will come unto you. So, we have screens off and they’re listening, so it has really forced them not to rely on visual cues or rely on blocking. They really have to know the words.”

EXIT LAUGHING rehearsals have now moved on to the stage, and the cast is starting to become familiar with their props. Now that they are off book, they can become more comfortable with blocking.

“This show is pretty prop heavy, and I want the tempo to move because it is a comedy. This isn’t the MERCHANT OF VENICE, so we have to move,” Gideon laughed.

As a performer, Gideon is perhaps best known by local audiences for his performing partnership with executive director Beth Domann in bringing the GREATER TUNA series to the stage. The four plays are set in fictional Tuna, Texas and require countless quick changes as two performers portray multiple characters each. Gideon was cast in the first production with Paul Libscomb nearly 30 years ago, but each revival since has been a collaboration with Domann.

Gideon revealed the pair get frequent requests to revive the shows, but they have now performed all four scripts and new ones aren’t being written. He explained that certain scenes have become favorites for the duo, and he has a novel idea for revamping the material.

“If we would ever do it again, I have threatened to Beth at times that I was going to sit down and work my way through all of the scripts and make a list of all the scenes in all of those scripts that we like, put the scenes all together and we would call it TUNA CASSEROLE,” he quipped. “I think it has great potential.”

Since the 1980s, Gideon has been dedicated to sharing the performing arts with younger generations. As a teacher in the Springfield Public School system, and surrounding areas, he has mounted dozens of shows and been heavily involved in speech and debate tournaments.

After graduating from Evangel University in 1978, Gideon first found his way onto the SLT stage before leaving town. He knew he would be moving to Pittsburg, Kansas for graduate school and wanted to take advantage of an opportunity to appear in CARNIVAL. He wouldn’t return to the Ozarks until 1985 when he began teaching at Nixa and then moved to Kickapoo High School.

When time allowed, Gideon jumped into SLT productions including ANNIE, TUESDAYS WITH MORRIE, THE BEST LITTLE WHOREHOUSE IN TEXAS, GRAPES OF WRATH, CADDIE WOODLAWN, and an original musical, MISSOURI. In 1997, he made his SLT directorial debut with the one woman show SHIRLEY VALENTINE.

“When a director directs, you get his impression of a script on stage. If they’re always the one directing, then we’re only seeing one version.”

Gideon encourages fresh ideas and for younger artists to take up the mantle. He praised his WIZARD OF OZ choreographer, Josh Inmon, who recently directed and choreographed WAITRESS.

“Now we have Josh Inmon and he is so good,” Gideon remarked. “He’s such a good director. He’s a choreographer, he’s a director, he works great with kids, he’s very organized, he really lets an experienced actor explore and do and then offers suggestions.”

Gideon now serves as the Vice President of the SLT Guild, which helps to raise money for the organization as well as curate interest in the theatre’s programs and productions. As a volunteer, he recognizes the sacrifices made by performers, parents, crew, and more to keep the doors open.

“Springfield Little Theatre was created in the beginning because a group of individuals had a love of theater and a love for the city,” he admired. “Theater is the truest act of love. You give up six to eight weeks or more of your personal life so that in 90 minutes – over nine or fifteen performances – you give everything you’ve got so that someone out in the audience, their thinking is changed, their heart is touched, their memories are evoked. That is the purest act of love that someone is giving so much of themselves either as a director or as an actor or as a technician for that brief moment in the whole scope of life that someone is sitting in the dark in the Landers Theatre and they are transported to another place or time.”

Although he has dedicated many hours to SLT productions, Gideon acknowledges that the work volunteers do to develop an entire season of shows can never be fully appreciated. That magic that makes it look effortless, he said, is its own reward.

“The average person has no idea what goes into the hours and hours of rehearsal and picking out props and costumes and all that stuff. They have no idea, and they don’t need to know because that’s not their job. Our job is to provide the highest quality of entertainment that we possibly can. In that offering, if we can change lives or touch hearts, then our job is done.”

EXIT LAUGHING runs March 14 – 23 on the Landers stage. Tickets are available now.

How NYC Singer Brandon Looney is Using His Art to Help Others

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New York City performer Brandon Looney has been settled in the Big Apple for more than a decade, but on occasion, he still heeds a special call to come home to the Landers’ stage. For BRANDON LOONEY PRESENTS: I STILL FEEL ALIVE, the singer is uniting friends from Springfield Little Theatre and coworkers in NYC for a powerhouse performance.

“I am super excited. We have a live band that’s coming, three SLT people: Sally Trtan, Sheristen McCullah, Imari Stout,” Looney announced. Trtan and McCullah just wrapped up performances in WAITRESS and Stout played the iconic princess in the most recent staging of CINDERELLA. “I am also flying in three of my dancers from the first show – Moe Ivey and AJ Blankenship. They are incredible artists who took time out of their day. Both of them have been on Broadway, they’ve toured, they’ve worked on MATILDA. They’ve done very, very cool stuff and I’m just so happy they agreed to come along and fly down to my hometown. It’s going to be fun.”

Come ready to get up and dance, Looney teased. The concert is filled with great music, high energy, and vocals that promise to bring the house down.

“It’s genres of music I go to when I’m feeling happy or feeling sad. It’s a mixture of things and will definitely take you on a journey,” he promised. “It’s going to be such a great time. It’s very high energy, fast paced. You’re going to be up on your feet. I’m encouraging dancing, dancing in the aisles. There will be a lot of stuff going on, it’s going to be super, super fun.”

The show is a celebration, but ticket sales will support a very important cause. Looney was diagnosed with end stage kidney disease in 2023 and has been undergoing dialysis three times a week. He also receives an infusion every eight weeks to combat the Atypical hemolytic uremic syndrome (aHUS) with which he was diagnosed in 2024. aHUS is a rare genetic disorder affecting only 2 out of every 1 million Americans that causes the formation of tiny blood clots that reduce or prevent proper blood flow, especially to the kidneys. Despite his diagnosis, Looney is still performing regularly.

“When I attend dialysis, I’m the youngest person by 30, 40 years,” he noted. “It’s interesting to be in the dialysis facility – which I’m there three times a week – and still get to go and perform during the nighttime. I’ll take a little nap, then show up at the theater at 6, and perform my little heart out. It’s been such a blessing to be able to still do this and perform and travel and still get to do what I love.”

Looney has a living donor, which increases longevity of the organ. Recovery from the surgery can take three to six months and, Looney explained, there is virtually no federal aid for transplant patients or their donors. Recognizing the cost of recovery, Looney hopes to be able to support other patients.

“I’m trying to launch an LLC so I can put on and produce shows and most of the proceeds would go to helping people with end stage kidney disease,” he announced. “That’s my next project and I’m going to switch over into producer realm to do that as well. That’s been on my heart the last year or so. How fun is it to be in this situation and still be able to perform, and I can use both of those things to maybe help someone else? That’s my next step.”

Looney began acting at Central High School with drama teacher, Dr. Gretchen Teague. When several of his classmates started leaving rehearsals early to go downtown, he grew curious. He went to see them on the Landers stage and got hooked.

“I caught the first HIGH SCHOOL MUSICAL. It was the first thing I ever saw [at Springfield Little Theatre] and I was like, ‘Wow, that was so much fun.’ I saw all of my friends in it. Then I auditioned for ALICE IN WONDERLAND, JR. That was my first show there.”

Looney grew up singing with family and in church, but he admits he struggled singing in front of people. Looney was a member of Y.E.S. Troupe his junior and senior years and performed in several shows. When he became involved with SLT programs, he began to open up for audiences.

“Springfield Little Theatre really taught me confidence,” he reflected. “I’ve always been a singer. I come from a family full of singers. I very much struggled getting up and singing in front of people before Springfield Little Theatre for sure. I’ve always had a stage fright situation, and I just never really knew what it was. I started doing things at theatre and it helped me being around my peers. It really smashed a lot of that.”

Looney made a splash in 2021 when he returned to SLT to star as Lola in KINKY BOOTS. The show played to raucous audiences and made a lasting impact on Looney’s soul.

“The material, doing that back home, performing in front of my family, it was just a long list of things that literally changed my life,” he shared. “It really, really did. It was incredible. I just love the show but also coming back to my home theater and the storyline hitting so close to home, it was just so many things that made a perfect experience that I will never forget.”

His performance even inspired his aunt, Brecka Henderson, to pursue performing. Henderson will also make a guest appearance in I STILL FEEL ALIVE.

“I did KINKY BOOTS and that was actually the first time that a lot of my extended family came to see the show,” Looney explained. “I had been performing for 20 years and that was the first time that many of them had ever seen me perform. It was very interesting. My aunt saw the show and just fell in love with theater, and she auditioned for CINDERELLA. Now she understands what she didn’t get 15 years ago. She is like, ‘Oh, I love these people. I understand why you do show after show after show.’ It’s just so much fun. You’re so supported. That’s the environment that we should all be in.”

In 2013, Looney was attending MSU for a non—performance degree when he got an opportunity to perform professionally in NYC. He quickly became a staple of the New York nightlife scene with power-packed performances as host of the The Box. Today, he is a singer at theatrical burlesque Company XIV in Brooklyn appearing next in their production QUEEN OF HEARTS.

“They’re a relatively new company of about 12 years, but they put on incredible productions,” he explained. “It’s super cool. It’s Cirque du Soleil meets Broadway style. They have an incredible team. That’s been my longest running job in New York. I’ve been there for about six years now. It’s been wonderful. They change shows every three to four months, so it’s something new every time you come.”

Looney is still appreciative of those experiences at Springfield Little Theatre and Central High School that prepared him for a flourishing career in the arts.

“Springfield Little Theatre, it gave me such a sense of community and belonging and just that self-confidence. Being able to go out there and know that if I flop or not, I’ll have all of that support with my peers. We’re very much cheering each other on. I’ve never been in that environment before, but that environment there is so strong that it really just helped me in so many other areas of my life.”

Tickets are still available for BRANDON LOONEY PRESENTS: I STILL FEEL ALIVE.

Marni Erwin Reflects on Her SLT Journey From Becoming ‘Shop Chick’ to Director

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Springfield Little Theatre and Marni Erwin proved to be soulmates, destined to change one another forever. But when the curtain rose on the 2003 – 2004 season, they hadn’t yet crossed paths.

Erwin became involved in British Pantomime through the Off Centre Theatre in the UK prior to moving to the Springfield area. A few years after landing in the Ozarks, she finally walked into the Landers Theatre for the first time. She would come to spend thousands of hours in the historic building, but first, she was drawn in by a laugh.

“I went and saw STEEL MAGNOLIAS and just loved it. I watched [as] two of the actresses onstage lost it for a second,” she remembered. “They looked at each other, and one had a mudpack on her face, and the other just started laughing. It must have been at least 25 seconds, 30 seconds of laughter. I thought, ‘Oh my god. This is amazing. I love this.’”

Soon after, Erwin did the best possible thing she could do to get involved – she started showing up. Technical Directors Jamie Bower and Chuck Rogers quickly took note of her drive and dedication and put her to work, which earned her an endearing nickname.

“I started building with Chuck and Jamie. I really enjoyed that. It’s hard [work]. They called me ‘shop chick’ because I was there every day, and then I would work a show at night. I was at the theatre from ten to ten every day, which was kind of crazy, but I loved it,” Erwin reflected.

As her passion for Springfield Little Theatre grew, Erwin was game for anything. Whatever need to be done, she raised her hand and took care of business.

“I tried acting, which I found out later just isn’t my forte. I love being in the dark,” Erwin admitted. “I love working tech I love directing. I love stage managing. I’ve done a little of everything there except for sound.”

Erwin’s ready willingness and brilliance in all aspects of the theater became apparent and garnered her more responsibility. She began calling shows as stage manager then stepped up to assistant direct alongside Jamie Bower – a partnership that would continue throughout her tenure. Eventually, she made the leap to director in the 2017-2018 season.

“I think everybody had seen enough of me, seen my leadership as far as stage managing,” Erwin explained. “They got a read on me and realized that maybe I could be somebody who could have more of a leadership role. I was put through the paces and worked with Beth. I had been assistant directing with Jamie. I did years of that. I was finally given the opportunity with MIRACLE WORKER to direct my own show. I was just so thrilled and so scared, and it just turned out better than I could have expected. I was really, really proud of that piece.”

Erwin noted that working with actors who had spent time backstage was always apparent. The most professional performances always came from people who had experience doing tech. An understanding of every element strengthened their onstage delivery.

“You should understand all the different facets of a production,” Erwin urged. “Whether it’s painting the stage floor, whether it’s running copies of scripts for a director, whether it’s directing a show, whether it’s being in the chorus of a show and not having a line – which I’ve done, too. Whether it’s aiming a spotlight at somebody, you learn so much and you become part of the production and think, ‘We are really important. We are putting this together.’”

Erwin acknowledged that so many components of live theatre are visible, high pressure, and critical. However, Erwin has found every role she has stepped into rewarding.

“There’s parts of every one of the jobs that are scary,” she recognized. “Calling a show is really scary, because if you screw up, the whole audience sees it. Pushing the buttons for the lights is scary. If you’re off, the whole audience sees it. If you’re onstage and you forget your lines, oh god, that’s happened before. If you’re building a set and you don’t make it safe, somebody gets hurt. There are so many things to consider that go into a production and it’s not just the person taking the bows. That means no disrespect to the actors. It just means that there are a lot of people standing behind them, propping them up and making them look as professional as they do.”

To ease the fear factor of making the leap into theater, Erwin suggested starting out in the house. To anyone who has an interest in becoming a volunteer at any level, Erwin said that ushering is a good position to get your bearings and witness the joy and magic of live theater.

“I think that one of the best things to do would probably be to usher. You get a chance to see a show,” she explained. “It’s not too much pressure. You’re able to meet some people that are involved whether it’s concessions or the other people who are ushering and you get a vibe. Then you can say, ‘I bet you I could do that’ or ‘I could paint the stage’ or ‘I could do the lights. That would be kind of cool.’ I think that’s a good entry level to get a good feel of the theatre and feel if it’s right for you.”

Erwin accomplished notable feats in her time at SLT. Directing, stage managing, and building on multiple shows, she contributed to some of the most ambitious shows ever produced at the Landers. She recalled that every fly was full on THE PRODUCERS – a production that she helped construct and assistant stage managed. Although her resume is now filled with career highs, Erwin knows what it’s like to be new and building skills.

“I got in there without any experience, and I pretty much consider myself a carpenter now after working with Chuck and Jamie. I’m just kind of a chick who’s more like a dude. I’m not afraid to try new things.”

The level of talent and passion throughout the SLT community drove Erwin to elevate her own talents and leadership. “I was kind of a task master as a stage manager. You’ve gotta be on your game. These productions are so amazing. Why would you give less than your best? It’s just such an amazing theatre and it’s not a ‘community theatre’ in any stretch of the imagination to me. It’s as professional as you can get.”

Erwin hopes that newcomers appreciate the special community at SLT, but don’t allow it to intimidate them. She emphasized the welcoming nature she experienced over the years.

“I think in times like this when it’s easy to feel alienated by the world sometimes, it’s so special to find a place where everybody has a seat at the table,” Erwin reflected. “[Springfield Little Theatre] is that for me. They’ve allowed me to soar, and I didn’t know I could. It’s just added so much to my life and the people that I have met there. It just means so muchIt’s hallowed ground. It really is. I can’t wait to step on the stage again.”

To begin your volunteer journey with Springfield Little Theatre, visit springfieldlittletheatre.org/volunteer.

Butch Garrett Makes His SLT Debut in WAITRESS After Decades as a Patron

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Butch Garrett will proudly tell you that he made his Springfield Little Theatre debut later in life than anyone else on stage. The senior member of the WAITRESS cast was a fan for decades before attending an audition.

“It’s something innate that just drives you to be onstage. It changes from sitting in the audience for hundreds of productions to actually stepping on stage. There’s something there. It’s mystic, cosmic, planets in proper alignment,” Garrett marveled.

Garrett and his wife, Patty, were “theater buffs” for decades, often incorporating live shows into their travels. He still breathlessly recalls using their last penny to see Elizabeth Taylor and Richard Burton in PRIVATE LIVES in 1983. “It is something I won’t forget. There’s something about stage presence. Those two people would be on stage, and you couldn’t see anybody else. It was just an aura.”

The Garretts were season ticket holders at Springfield Little Theatre for the majority of their 48-year marriage. He released their assigned seats when Patty passed away in 2021, but he eventually felt a calling to return to the Landers.

“It was an ‘us’ thing and there was no ‘us’ anymore, but I’m back and this is a big deal to me,” Garrett explained. “This is my debut, not that I’m special or that my part is special, but it’s a big deal to me. Some of the kids in the show, they’ve been in numerous productions, and this is probably going to be my first and last. I’ve enjoyed it so much.”

Garrett had rarely considered being in one of the productions that his family so greatly enjoyed attending, but he always lived his life by seizing opportunities and pushing himself. As a first-time auditioner, he took advantage of the WAITRESS workshop. With no on stage experience, he wanted an opportunity to discover his talents.

“In November, we went to an audition workshop and [associate choreographer] Austen Padgitt – who is super –was giving dance instructions,” Garrett recalled. “She was speaking a language I did not understand. The dancers did speak that language, and they had that part done in ten minutes. Well, I would have to learn the language first, but they really knew it.”

Once Garrett was cast as Joe, the owner of the diner where Jenna (Sally Trtan) bakes her infamous pies, he did learn a few dance steps. “I dance a little bit with Sally when I sing to her. It’s a fun part,” Garrett shared. “It’s such a positive environment and it’s such a commitment I’ve never seen anywhere before.”

Garrett has marveled at every element of production since stepping onto the other side of the curtain. He now has a greater appreciation for all elements of live theater, including details like changing sets between scenes.

“I never realized how, number one, time consuming it is, and how complicated [theater] is,” he professed. “There’s like 45 people in our cast and to do all the changes between scenes, that’s practically choreographed. You’re moving specific things to specific places at specific times. It’s really cool to see. It gives you a different perspective of how productions are done.”

Perhaps his only regret, is not having auditioned sooner. “I wish I had done this fifty years ago because [director] Josh [Inmon] has a lot of management skills. That’s what it is – management. How to manage a production like this. He’s the most patient guy that there is. Obviously, this is my first production, but I can’t imagine not having Josh as the director. Josh is just a champ, man.”

Garrett is quick to praise the entire cast and crew, giving special shout outs to stars Sally Trtan and Seth Hunt as well as music director Kathryn Cole. “Kathryn is just amazing. I don’t know what we’d do without her,” Garrett applauded. “I don’t know what her day job is, but her day job and night job should be doing music for productions. It’s super talent.”

The experience has been joyful, if not a little exhausting, for Garrett. After more than 30 rehearsals and sixteen performances, he will admittedly be ready for a break. “I’ve learned so much and the people that you deal with are so positive and so talented and I think, ‘What am I doing here?’ But it’s fun and I really looked forward to the night we opened, and I’m also looking forward to February 16 when we close,” Garrett joked.

After dedicating a lifetime to SLT productions from his designated seat in the audience, Garrett has found a new joy in receiving the applause he and his wife so generously offered. That turn is something he would recommend to everyone.

“It’s been so much fun. I’ve learned so much. There are some super cool and kind people. They’ll do anything to help you,” he smiled. “I’m having fun and I’m learning a lot. That’s what life is about. You and I will never be any younger than we are today. If you don’t push the envelope a little bit, you become stagnant. That’s in all areas of your life and sometimes it’s tempting just to want to fly under the radar, but you don’t learn stuff and you don’t get challenged. It’s just so cool.”

WAITRESS continues its run through February 16. Tickets are available now.

Director Josh Inmon Believes in Capturing the Magic Moments at SLT

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Springfield Little Theatre instructor, choreographer, and director Josh Inmon mounts some of the most ambitious, dazzling productions in the area, but the heart of his shows comes down to quiet connections.

“In forty rehearsals over eight weeks to put a show like THE WIZARD OF OZ together with almost 80 people, the product that SLT is known for only exists because of those relationships and those people,” Inmon explained. “That’s what’s really fun. That’s what I wish the community could see. I wish they could be a fly on the wall in those rehearsals and just see everything from people forming new friendships or people who think ‘I could never do that’ then two months later in front of 500 people to be able to do a dance number or to be able to do a scene they never thought they could do. That’s really special.”

Inmon has crafted a lifetime of memories for a generation of young artists. He cherishes those formative experiences as he still vibrantly recalls his own childhood introduction to the Landers. When in 1996 his Cub Scout leader and veteran SLT performer Dean Price arranged for their troop to attend a rehearsal of MY FAIR LADY starring Broadway actress Kim Crosby, Inmon discovered his calling.

“We went to go see a dress rehearsal and I can still remember exactly where I sat for that,” he smiled. “I can remember the aisle I walked down, and it changed my life. Ever since then, I just knew in that instant that this is where I wanted to be, and I wanted to be involved in this organization as long as I’m here.”

Years and auditions passed before Inmon began his formal involvement at SLT. After searching in vain for his name on multiple cast lists, he finally landed the role of Lt. Brannigan in GUYS AND DOLLS, JR. in 2003.

“I auditioned a few times before that and that was the first show I made,” he admitted. “It changed my life. I always say, that was my first show and I’ve been here ever since. I never left. Shortly thereafter, I joined Y.E.S. Troupe. Here I am 20-some odd years later.”

Persistence paid off as his skills grew and he captured dream roles including Rum Tum Tugger in CATS and the UPS Man in LEGALLY BLONDE. After graduating high school, he shifted into staff positions teaching Y.E.S. Troupe and was later hired to mainstage creative teams. Although he has directed and choreographed dozens of productions to date, the first show in a creative capacity has never left him.

“The coolest moment – and I think I could probably get teary eyed thinking about it – the first show I ever choreographed was BUDDY HOLLY,” he recalled. “That’s one of my favorite shows and I hope that one day I get to go back and do that show again. I was 19 and there was a moment where my parents and my aunt and my uncle sat and watched in the balcony with me. Those are the moments that are so special.”

That spirit guides every decision Inmon makes as a director. Beyond delivering a show stopping monologue or singing an ovation worthy ballad, Inmon focuses on helping his cast and crew capture the deeper truths of why they love theatre. He always takes time out to highlight the community and connections that are pure magic.

“I always say in rehearsal, 15 or 20 years from now, we’re not necessarily going to remember the work that we did on stage, but we’re going to remember those relationships that we formed in rehearsal rooms. We’re going to remember those feelings of coming together and creating something bigger than ourselves.”

Those experiences, Inmon says, are timeless. Although hit shows come and go, the heart of pulling together to craft a production remains. Y.E.S. Troupers have kept the tradition of singing RENT classic “Seasons of Love” to honor their shared experience and graduates from years past. Alumni often recognize musical numbers they once learned in updated performances.

“It’s really cool to be 20 years into this now,” Inmon reflected. “For most of those 20 years I’ve had some involvement in Y.E.S. Troupe, whether it’s being a cast member in it or an instructor. It doesn’t matter how many years go by, the energy and the love for the theater and for what they’re doing remains the same. Even though so much of the outside world has changed and there’s new technology and so much that’s different, when you go in that rehearsal room, it’s very much the same energy and vibe that it was when I was in Troupe. I’m sure it’s the same as 20 years before I was in Troupe as well.”

Inmon focused his SLT education training on bolstering the performing arts in Springfield. As Associate Director of Juanita K. Hammons Hall, Inmon welcomes thousands of theatregoers each year to productions that are frequently outsized for the Ozarks. Often, these tour runs that visit the Hall are the first time locals will see Broadway shows. He has also taught and directed at Drury University and is engaged in the Springfield Regional Arts Council.

“I think when most people come to Springfield Little Theatre, your path in the door is you want to be onstage. Certainly, that’s how I started as well,” Inmon noted. “But very quickly, I found myself getting interested and involved in the arts management side. It wasn’t just what’s happening on stage. It’s everything from what are the ushers doing? What’s the box office? What’s marketing? How are people getting to the show? Truly, I think that has really grabbed me more than the artistic side in some ways.”

Inmon credits SLT’s commitment to teaching a well-rounded curriculum for shaping his career. Being exposed to all aspects of production gave him a perspective for the full mechanism that creates a theatrical experience.

“I feel so fortunate at this organization to have my hand in a lot of different areas,” he praised. “That’s really one of the special things about Springfield Little Theatre. Because of that and relationships I’ve formed in this organization, it’s really set my path to what it is now. Whether it’s working here, directing or choreographing a show, helping with Y.E.S. Troupe, my work outside of the theatre at Juanita K. Hammons Hall or the Arts Council Board, there are so many other things – the foundation of that started right here at Springfield Little Theatre.”

Inmon’s productions are among the most celebrated musicals on the Landers stage, but he says that his confidence comes from the training he’s received at SLT.

“I think that’s one thing that Springfield Little Theatre does so well is they really put these mentors in place – the people we’re surrounded by. Certainly, the two that pop up the most for me would be Beth Domann and Lorianne Dunn.”

Education director Lorianne Dunn has famously elevated the size and scope of productions that SLT produces since the 2000s. Her dedication to detail and drive for perfection has ushered in a new era of professionalism at the Landers.

“So much of what I do on stage as a choreographer and a director is rooted in the skills that Lorianne has provided me with and shown me,” Inmon admired. “How she puts a show together and the scale of her productions, I’m proud to be a part of that legacy and to learn from her. I’d like to think that my product is along those lines as well. She’s really taught me how to build a show and make it something exciting for the whole community.”

Executive director Beth Domann has a knack for identifying talent. She has been influential in finding the perfect fit in the performing arts for hundreds of young hopefuls.

“Beth is, of course, an incredible artist. But I think more important than that, she’s an incredible person,” Inmon said. “She is probably my biggest mentor and one of my closest friends. In the best moments of my life, I have called Beth to share those with. In the worst moments of my life, I have called Beth for her advice. I’ve never known anybody and probably never will know anybody as cool and as passionate about what she does as Beth.”

Now, after years of dedication that carried Inmon from student to instructor to director to community leader, he has left his own imprint on SLT mentoring the next up and coming professionals.

“It’s really cool to be part of an organization that does something so well as SLT does, but it’s about the people. My best friends I have all met here in this organization. Twenty years later, we’re still best friends. We’re still making new memories,” Inmon shared. “There’s just nothing like Springfield Little Theatre. Not just in Southwest Missouri. It would rival anything in this country. Springfield Little Theatre is really, really special.”

Josh Inmon latest production, WAITRESS, opens Friday at The Landers Theatre. Tickets on sale now!

Springfield Little Theatre’s First Director, Kirk Denmark

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Springfield Little Theatre has been the training ground that launched many careers in the arts, including that of one of its teenage founders, Kirk Denmark.

Denmark graduated from Springfield Senior High with his sights on the big city, but when the Great Depression hit, the glittering lights of Broadway may as well have been on the moon. Together with classmate Bruce Lemmon, 17-year-old Denmark approached their drama teacher Helen Johnson about putting on a production.

Alongside six other students, the young men presented THE IMPORTANCE OF BEING EARNEST on July 24, 1934, marking the debut Springfield Little Theatre production. Denmark’s contribution was paramount as both an actor and the show’s director.

More than forty years later, Frances Vandivort recalled the newspaper review praised, “[Denmark] portrayed the part of Lane with real appreciation. The comedy proved still laughable despite its age and triviality, and both actors and audience seemed to enjoy it thoroughly. Many a gusty laugh swept the auditorium and sustained the evening’s good-natured mood.”

Between 1934 and 1942, Denmark is credited with directing or advising on 18 SLT plays. During that time, he earned a bachelor’s degree from Southwest Missouri State University and continued his education, earning a Master of Fine Arts at Yale University and a Master of Philosophy at the University of Wisconsin.

Denmark served as a naval officer in WWII and SLT took a break during the challenging war years. Once the conflict ended, Denmark began teaching at Beloit College in Wisconsin. He continued his passion for developing new theatre programs. Denmark became the founding head of the Beloit Theatre Arts Department in 1947 and established the Equity Summer Court Theatre in 1951.

Although Denmark’s career took him across the globe, he never lost his affection for the organization that launched his career. In 1974, he returned to direct the hilarious classic THE MAN WHO CAME TO DINNER at Springfield Little Theatre. During that visit, he emphasized his admiration for the original teacher who supported his dream, Helen Johnson. “She supplied the inspiration, artistic support, and determination to get Springfield Little Theatre off the ground,” he praised.

Denmark’s guiding principle was that “all students should see good plays done with professional skill. Students exposed to such professionalism can better appreciate the value of a liberal arts education.” The spirit of his conviction lives on in SLT by producing non-profit and educational theatre at a professional level.

To read more about Kirk Denmark and the founding of Springfield Little Theatre, order your copy of THE LANDERS: BIOGRAPHY OF A THEATER.

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