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

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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.

Lucas Grabeel’s Path to Stardom Started in SLT Youth Programs

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The story is familiar to millions of fans today: a young athlete involved in school sports feels the pull of theater and discovers a talent just waiting to break through. Before Disney’s High School Musical made Lucas Grabeel a star, he lived it on the Landers stage.

“I showed up to my first [Y.E.S. Troupe] rehearsal in my football pads because I was playing football at the time too,” Grabeel laughed. “We did a dance. We were starting off right off the bat. Like, ‘Okay, we’re going to do this big dance medley number.’ It was like jumping and doing all this crazy stuff. I had never danced before, so I was terrified. But then we got to play improv games, and I loved that. Then singing. I had been doing music since I was little. I was 7th grade, 8th grade maybe when that happened.”

Grabeel had been recruited to Springfield Little Theatre weeks earlier when Beth Domann visited his middle school. He had been curious about performing but was lost on how to explore his interest. When Domann addressed his class about life in the arts, Grabeel suddenly recognized the way forward.

“She was just so funny and witty and clever and nice and weird, and I saw so much of myself in her and what I wanted to be,” he reflected. “I talked to her afterwards and she was like, ‘Yeah, come and sign up for these acting classes.’”

After just one class, Domann spotted Grabeel’s talent and urged him to join Y.E.S. Troupe for a more rounded education. With Domann in charge, Troupe was acting and improv heavy leaning into her strengths. She urged participants to be self-reliant, producing their own projects and learning all facets of theatre.

“She would just be like, ‘Okay, this is what you need to do. Do it and figure it out.’ So many times over my adult years I think back on that with such gratitude,” Grabeel acknowledged. “That’s the thing that we needed to push ourselves. But also, after we figured it out, to have that confidence of, ‘Wow, we figured this out ourselves.’”

“We learned how to work together,” Grabeel explained. “So many interdisciplinary facets from taking tickets to office hours to hanging lights, changing gels, building sets, and even sweeping and cleaning and interacting with our own show and other shows and other people from the top to the bottom. It just solidified the sense of community that SLT is. You really felt like you were a part of something, which for me was extremely important.”

As Grabeel’s focus sharpened on the performing arts, all other activities began to fade away. He eventually left sports behind and performed as a toy soldier in his first SLT production, THE VELVETEEN RABBIT. Then came the opportunity that began to reveal his potential star power. Then SLT executive director, Mick Denniston, was directing OLIVER and Grabeel nervously prepared for the audition.

“I was terrified because I was meeting Mick Denniston for the first time,” he recalled. “[Mick] was the executive director of SLT at the time. Loved by many but feared by most as well. I was so intimidated and so scared. I went and sang a song that usually a girl sings – ‘Castle on a Cloud’ from LES MIS [LES MISERABLES]. I didn’t even know what LES MIS was. I was not in a theatre headspace at all. I was like ‘Mr. Sports Boy’ – even though, let’s be honest, I was not ‘Mr. Sports Boy.’ But anyway, I was cast, and that was really the first big thing I had really gotten on my own. I was just floored.”

Grabeel landed the role of the Artful Dodger and was an instant standout. Fellow castmates, audiences, and Denniston himself recognized the special talent Grabeel possessed. Recognizing the power of Denniston’s mentorship and the impact of the role in his life brought tears to his eyes.

Despite being so many years, auditions, and roles ago, he still appreciates the experience of that show as a turning point. After OLIVER, Grabeel was all in.

“From then on, it was like what can I do to fit in as much experience, work, and knowledge as possible?” he explained. “Landers became my college while I was still in high school. Became my church while I was kind of stepping away from being religious. It was my family when so many rough times were going on at home. I would escape and find people who acted like me, thought like me, who were weird. There was so much support and so much challenge.”

Grabeel continued performing at Logan-Rogersville, Kickapoo, and SLT through his high school years. With every show, he picked up skills and experiences that would prepare him to pursue acting as a profession.

“I remember [fellow Y.E.S. Troupers] Derek Macumber teaching me how to do my makeup. Jessica [Bower] just totally took me under her wing and taught me how to dance. ”

One pivotal conversation pushed Grabeel toward his future. “Before I graduated high school, Beth and I were having dinner and she was like, ‘I don’t ever tell anybody this, but you should go into movies. You should go to LA.’ And I had that feeling. I knew that was where I was gonna go, but my gut was telling me that and I needed some validation. That was another huge pivotal point in my life to know that here’s my mentor telling me what my gut is already telling me and giving me that validation. Immediately I was like, ‘Okay, I need to go check it out.’”

Before making the leap, Grabeel visited Los Angeles and lived the actors’ dream. He was approached by a stranger while waiting in line for a smoothie. The man asked if Grabeel had acting aspirations and confirmed that he had the right look for the screen. After some conversation, he became Grabeel’s manager for a decade.

Grabeel moved to LA with a friend straight out of high school. He worked at Blockbuster between auditions until his manager sent him to an audition for an untitled Disney project.

“I was at a party with some friends, and I was like, ‘Dude, I just got a callback for this Disney musical thing.’ They were like, ‘Oh, yeah. I heard about that. Dude! You are so gonna get that. That is so you. You are such the musical guy.’”

Grabeel admitted that he couldn’t see the potential right away with the material he’d been provided. With the competitive nature of auditions, he also knew he couldn’t count on anything before getting the call.

“At this point, there was no music that we had heard. It was being written at that time. It was just this empty script. Lots of holes in it for music, so you couldn’t really see it. I hadn’t met Kenny [Ortega] yet to see his artistic, weirdo, genius. I reluctantly went to the callback. I knew I did really well, but it was down between me and two other guys. That’s happened many times before and I didn’t get it after that. That’s just par for the course.”

Things changed when Grabeel met the creative team. Whether or not the movie became a success, he was excited about working with the Disney legends.

“When I was at the callback, I met Kenny and [choreographers] Chucky Klapow and Bonnie Storey. The three of them had this energy that I knew I wanted to be around, regardless of what I thought about the project. Which was just a huge lesson that you as an actor don’t get to choose how the final product comes out. Don’t think about that. Do your job and just wait and see what happens because it could be a total flop, or it could be a worldwide phenomenon that changes your life and takes you all around the world and you’re still talking about it almost 20 years later.”

Habits he acquired at SLT carried through into Grabeel’s professional life in the arts. When transitioning into the film and television industry, he used skills of observation and understanding the craft that he practiced in Y.E.S Troupe to make a smooth transition onto set.

“One of the most important aspects that I think about all the time that I learned at SLT was the importance of knowing everything about the art,” Grabeel noted. “What their job title was, what their responsibility was, what it’s like to present yourself in such a way when you’re an usher leading someone to their seat. How important the scenery is, the set decoration, the props. How important it is to hang up your costume at the end of every performance and take care of it. At the end of my day, I go to my trailer, I hang up my costume, and I cannot tell you how many times wardrobe department has come to me and been like, ‘Dude, this is insane. You’re the only person that ever does this and we appreciate it so much. It means a lot that you respect our job.’ I think that’s what it is. SLT really pushed us to respect every aspect.”

Over the years, Grabeel has appeared in high profile features like MILK with Sean Penn, starred in the beloved series SWITCHED AT BIRTH, and made the leap into voicework with starring roles in Netflix’s PINKY MALINKY, Disney’s SHERIFF CALLIE’S WILD WEST, and more. He has also been putting out music including fan favorite YOU WERE MY CHILDHOOD – an homage to HIGH SCHOOL MUSICAL fans.

“I’ve been doing a lot of voiceover [work], which I always love,” he said. “It’s the best job in the world. I cannot say enough about how much I love animation. Being silly and zany and creating things just with your voice is so much fun. I have been really focusing on music. I’ve been writing a lot. YOU WERE MY CHILDHOOD was something that had just kind of been brewing for a while, then one day it just kind of popped out. I’m really proud of it. I just released it because I knew I needed to put it out there as soon as possible, so I just did an acoustic version of it, and I might do a fully produced version at some point. It’s been so lovely. People have just really connected to it and listened to it.”

Despite living out his Hollywood dreams, Grabeel still credits SLT with guiding his passions into practice. With his multifaceted talents, he’s able to pursue all areas of entertainment.

“SLT was such a great escape to find another home where I knew I was valued and pushed and taught so many different things. As Beth used to say, ‘Here’s the kicker, kids. This is not just about theater. It’s about life.’”

IN MEMORY: Director, Actor, Choreographer Joe Bowman

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In the storied history of Springfield Little Theatre, Joe Bowman stands out among the most dedicated artists. For nearly five decades, he immersed himself in both creative and technical roles, moving easily between on stage duties and off. Director, actor, dancer, and crew are all listed among his lengthy credits. Joe Bowman passed away on September 29.

Cast in his first performance in 1957, Bowman quickly ascended to directing four years later with THE MARRIAGE-GO-ROUND. As a director, he was respected for his effective communication. Appreciating the craft from a performance aspect, he was known as an actors’ director, always giving them the tools to connect with the audience in modern and innovative ways.

“He would let you go and would let you try stuff,” executive director Beth Domann recalled. “It was always fun and we laughed a lot and cut up. Half the time I would be making a cross and he would say, ‘I was going to tell you to do that.’ Because as a director, when you’re acting you think about those things and what motivates stuff. He was just always very encouraging.”

Bowman pressed the bounds of creativity in his pieces. The standard of production that SLT fans have come to expect is grounded in the work he did to explore and elevate performances. He appreciated the details, often contributing to set construction and even designed DANNY AND THE DEEP BLUE SEA, which he also directed in 1994. As a choreographer, he worked with some of Springfield’s best dancers, including the 1966 run of THE KING & I led by West End Star and frequent Springfield Little Theatre guest star, Ken Cantril. Another standout among Bowman’s directing resume was THE GLASS MENAGERIE in 2001, starring then Southwest Missouri State University student Kyle Dean Massey who went on to Broadway. Bowman loved classics as much as fresh works like MYSTIC, MAGIC, MAKE BELIEVE which he directed in 2001.

In his final act, Bowman was determined that his passion for SLT be shared across the ages. Having been involved for decades, Bowman cherished each production and its place in SLT history.

“He probably knows more about SLT than anybody I know,” Domann said. “Whenever I had questions about, ‘Hey, what shows did this person do?’ Boom, he had it right there. He could just pull it up.”

Bowman painstakingly curated archives from its inception to present day. From photos to cast lists and beyond, he converted countless documents into a digital database to preserve the theatre’s rich history. Bowman was dedicated to the immense project for more than ten years and his efforts continued until his death. It’s because of his work that projects like 90 YEARS, 90 STORIES is possible, and his legacy will continue to live on.

“He lived a very eccentric, rich life. He really did. It was never dull, that’s for sure,” Domann warmly observed.

We are endlessly grateful to Joe for his creative and historic contributions to Springfield Little Theatre.

Joe Bowman’s complete credits at Springfield Little Theatre:

  • A HAPPY TIME, 1957 – Actor
  • THE GAZEBO, 1961 – Actor
  • THE MARRIAGE-GO-ROUND, 1961 – Director
  • THE GIRLS IN 509, 1964 – Director
  • THE FANTASTICKS, 1965 – Director & Choreographer
  • GUYS AND DOLLS, 1965 – Choreographer
  • THE MOUSETRAP, 1965 – Actor
  • ADVISE AND CONSENT, 1966 – Director
  • THE KING & I, 1966 – Choreographer
  • MAME, 1973 – Director
  • A COAT UPON A STICK, 1985 – Actor
  • DANY AND THE DEEP BLUE SEA, 1994 – Director & Designer
  • NOISES OFF, 1998 – Actor
  • THE TRIP TO BOUNTIFUL, 2000 – Director
  • CHILDREN OF EDEN, 2000 – Crew
  • MYSTIC, MAGIC, MAKE BELIEVE, 2001 – Director
  • ROMEO & JULIET, 2001 – Actor
  • ON GOLDEN POND, 2001 – Director/ Actor
  • THE GLASS MENAGERIE, 2001 – Director
  • ANYTHING GOES, 2002 – Director & Staging
  • ANNIE GET YOUR GUN, 2005 – Director & Staging

Micha Pelkey Merged Her Passions into a Partnership

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Auditions can rattle nerves. Rehearsals can form lifelong bonds. Performances can be a triumph. Yet, the emotions of all great shows must come to an end. Micha Pelkey has become well acquainted with the cycle of a show. As a parent, performer, and volunteer, she has thrown herself into each phase of putting on a production. She even cherishes the “strike” process of dismantling the show’s set and cleaning the dressing rooms.

“We’re family. We are a team,” Pelkey gushed. “Especially with strike, we were always taught, that is a part of the process. If the show was over, your last show, it’s very emotional. If you just walked out the door, it’s almost depressing. There is something about tearing down that set and cleaning up, getting the magnet on the floor, and watching everybody come together. We’ve been together this whole time and now we’re tearing it down. We’re breaking down that memory that we had. It’s important. These people here work so hard. It’s the least we can do to jump in and do what we’ve got to do.”

Thanks to Pelkey, however, performers and crews can take pieces of the production home to cherish those special memories. Through her work at Advertising Plus, Pelkey has helped craft the perfect memento for each show from T-shirts to collectibles since 2019.

“When I’m [performing] in a show, one thing I love doing the most is getting the cast and crew something special with the help of my industry,” Pelkey smiled. “Color-changing cups, custom wine tumblers, ornaments, just to name a few.”

Her ideas have also elevated the experience for theatregoers. Advertising Plus is sponsoring the SLT boutique for the 90th EMERALD ANNIVERSARY SEASON and donated all bags for each special purchase. She even helped resolve a decades long issue – how to enjoy concessions without feeling rushed.

“It was my suggestion for SLT to allow their patrons to enjoy a drink while watching a fabulous show – not just during intermission. That was the beginning of the wine tumblers,” Pelkey revealed. “If you purchase a wine tumbler you get to enjoy your drink during the show.”

Pelkey first came to SLT in 2006 when her daughters auditioned for SCHOOLHOUSE ROCK – LIVE, JR. After cheering them on and fostering their creativity, Pelkey finally saw an opportunity to take her first step onto the stage.

“I’m a singer, I like to perform, but I had never done anything on the stage before – never,” she recalled. “I was 36, so I auditioned for a show called THE TAFFETAS. Small cast, four people. I couldn’t read music. I was nervous, but [longtime SLT Technical Director] Chuck Rogers gave me a chance and it changed my life.”

More than a decade elapsed before Pelkey found her way back. After attending an SLT production, she reconnected with Rogers who encouraged her to audition for ALL SHOOK UP. Since then, she’s delivered unforgettable featured performances as Pat in KINKY BOOTS, Vicki Nichols in THE FULL MONTY, and many more.

“I saw [my] girls up there performing and I just felt like it’s me up there. I was so proud. But now to do it myself, we have that common bond,” Pelkey said. “They stopped doing it after a while, but I didn’t. They’re my biggest cheerleaders and they come and watch every single show.”

Pelkey’s children are grown now, but she still has an eye out for new talent and is always encouraging parents to get their kids involved.

“I have lots of friends, with children especially, who love to sing or have dynamic personalities, and I’m like, ‘You need to put that on the stage,’” she explained. “If you need a creative outlet and have stage fright, there’s plenty of stuff for you to do behind the scenes.”

In fact, Pelkey often contributes to both. She regularly drops in to volunteer on high priority projects, but has also served as assistant director – even on shows she’s appeared in.

“The first time I ever did it was in one of my very favorite shows, KINKY BOOTS,” Pelkey said. “I had never done it before, and I just have such a love for Chuck Rogers. I had seen people do it and thought, ‘I like that, I like giving people lines, I like the organization part of it, coming up with the conflicts schedule and all of the contacts and just knowing that you don’t have to be the star.’ You can be in the background and still be important and make someone else’s life a little bit easier. To me, that was super fun. I loved it. I was also assistant director for WHITE CHRISTMAS. What a blast. I could do that all day long.”

With a bustling career, Pelkey is constantly looking for ways to merge her passions so that she can devote time to both. The partnership has been enriching in both her life and the participants of SLT’s programs.

“I am busy, I work all the time,” Pelkey admitted. “But when I work on a show, it is just something internally that I wanna do. It’s a creative outlet and when you are at rehearsal or on the stage, your phone is away, it’s not a distraction, you are all in. Sometimes we need that. If I just worked all the time – and I do – I’m not having fun. I’m not getting out my artistic energy. I have to make time for it. It’s important. And I’m so thankful it’s there so that I can.”

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New this season! Shop our 90th EMERALD ANNIVERSARY SEASON merchandise online.

The Mallonee Family Dedicated Their Time – Then Discovered Their Talent

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When Blanca and Andy Mallonee’s daughters declared their intent to transition from Summer Institutes to SLT Troupes, they were fully on board – if not fully informed.

“We were not prepared [for auditions],” Blanca Mallonee confessed.

“We had no idea,” Andy agreed with a laugh.

“We showed up and we were like, ‘You have to have music. Wha—?”

“‘Sheet music? What are you talking about?’”

“‘Just sing Happy Birthday, honey,’” Blanca had advised.

The story is humorous family lore now. And with the help from Education Department staff, the impromptu auditions were a success, and both girls were cast. Since then, the Mallonee family has used that ready willingness and adaptable spirit to grow into resident volunteers.

“We got into volunteering because our girls were here so much while they were in Troupe or in rehearsal,” Andy explained. “We lived in Ozark, so I was like, I’m not going to drive home for an hour. So, then they were like, ‘Hey, we need help doing this and we need help doing this.’ You see a lot of families do the same thing we did at the time our kids were there. They just stick around and help volunteer. Do props, costumes, whatever the need is.”

Their daughters performed in many shows and progressed into the Pre-Professional Track before sports conflicts drew them away. Years later, Blanca and Andy still recognize habits and values in their kids that were shaped by their involvement in theatre.

“You committed to something, so you’ve got to finish it. I think the big thing we see the girls got – they’re not shy,” Andy noted. “If something needs to get done, they’ll step right up. They’re not afraid to speak up. They’re not afraid to be first. I think being up on stage in front of an audience has helped them grow into a young adult that can handle pressure. They’re not going to shy away from it. They’ll be like, ‘I got this. I can handle this.’”

The family eventually had an opportunity to all act together in MIRACLE ON 34TH STREET before their girls grew up and moved on. Even after their kids graduated, Blanca and Andy stayed engaged.

“After the girls left, it was like, I still enjoy going down there and being a part of it,” Andy recalled. “It is our second family. It’s like we kind of look forward to staying active and being able to help. This is a community theatre, and we want to be a part of that and help promote what Springfield Little Theatre does for the Springfield area.”

“It’s a family environment. It’s a safe place for kids and adults,” Blanca reflected. “You get hooked and then you’re like, ‘Ooh, I want to come back.’ I’m making a difference. I get to be part of that show – not on the stage but behind the scenes – because it doesn’t just take people on the stage. It takes everybody around from the crew, the costumes, making props, everything.”

Beyond her on stage performances – most recently in IN THE HEIGHTS – Blanca is perhaps most recognized for her work with the SLT Boutique for both the Landers and the Judy locations. She has widely expanded the merchandise available at shows in an era when merch has become social currency declaring fandoms and personal interests. Revenue has jumped since she started personally curating the items and all proceeds benefit SLT Education programs.

The Mallonees are advocates for showing up and trying new things. Neither knew what opportunities would appear or what they would be capable of, but fifteen years later, they are involved in almost every production year-round.

“I would encourage families to get involved. You’re here while your kids are rehearsing or taking classes. You’re helping this community,” Andy urged. “You’re helping this theatre. It’s always about time, talent, and money. Money is hard for a lot of folks right now. A lot of people have talent. They don’t know it, but they do. They have time. Come and volunteer. That’s kind of how we did it. We have the time, we have the money, we have the talent.”

“We didn’t know at first!” Blanca laughed. “Then I got up on stage or in crew.”

“We didn’t know at first!” Andy agreed. “But we hear that a lot. Do you have time? Do you have the talent? Everybody has something to offer. I’ve always looked at it like, we have something to offer. We can give back. That’s why we volunteer is to give back.”

They continue to explore new roles. Blanca has joined the SLT Guild and Andy has stepped up to be a House Manager helping patrons enjoy the performances.

“Everybody gets treated like they’re part of something. It’s like our second home,” Blanca smiled. “We still want to be showing up to make a difference or help anywhere that it’s needed. It’s big. They need a lot of people to help to make a big production happen.”

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Looking to get INVOLVED with Springfield Little Theatre like the Mallonee Family? Visit our volunteer page here.

Frances Vandivort: A Leader and a Light

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When the house lights dimmed, and the curtain rose on the 1969 production of ARSENIC AND OLD LACE, Springfield Little Theatre insiders knew they were about to see something special. When the spotlights flashed onto the two local actresses playing the Brewster sisters, the remaining audience members were won over, too.

“I remember seeing Frances Vandivort and Dr. Irene Coger in Arsenic and Old Lace and it was totally believable that they had bodies in their basement,” Executive Director Beth Domann joked. “Wouldn’t surprise me one bit.”

Frances Vandivort was a celebrated name around Springfield Little Theatre. She was often hard at work to ensure that every season was a success. There was no role – on stage, backstage, or beyond – that was too small for Frances. She knew that pitching in on the small details was what brought audiences in and allowed for her to occasionally take a turn in the position she most enjoyed – performer.

“Frances Vandivort would sell the tickets, and she always made these little hats that would go with each show,” Beth Domann recalled.

Volunteerism at Springfield Little Theatre has become synonymous with the name ‘Vandivort’. The beloved Frannie Awards, Springfield Little Theatre’s annual volunteer awards, are named in Frances Vandivort’s honor due to her well-rounded contributions to the organization.

In a 1978 oral history of the founding of SLT given to The Guild, Frances noted the desperate circumstances through which passionate volunteers like herself endured for the love of the theatre. Launching during the Great Depression, limping through World War II, assembling sets with no permanent performance space, and eventually renovating the Landers, Vandivort and other SLT stalwarts persevered. She explained with good humor how even behind the scenes responsibilities are critical to performances – and can occasionally go awry.

“Sometimes, it might be your job to be backstage. You would have in your hand a rigged board that would have a bell on it, and on cue, you would ring the telephone, or you would ring the doorbell,” Vandivort explained. “Now you know sometimes these things didn’t work. And if they didn’t work, you just hoped that somebody on stage had the poise to say, ‘Was that the doorbell?’ Or ‘Did I hear the telephone?’ Lots of funny things happened.”

Frances Vandivort cherished the community aspect of SLT but dedicated herself at a professional level. Her impact has elevated productions year after year as new generations strive for the joy she imparted. Vandivort was a rare talent who had a director’s vision, an actor’s intuition, and a patron’s heart.

“She acted and she directed. Fabulous, fabulous actress,” Domann praised. “She was a force. She was just a classy lady.”

Casey Baltes Charts a Path from Y.E.S. Troupe to Tribeca

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Casey Baltes can trace her success as Vice President at Tribeca Enterprises back to her training at Springfield Little Theatre. Baltes was first exposed to the performing arts as a fifth grader when she enrolled in an improv class taught by a “very young” Beth Domann.

“Most of my childhood – starting from that class through high school – was shaped by the Landers,” she recalled fondly. “I basically lived at the theater from that day on. The education route, of course, was a gateway to being involved in Landers. From that I actually ended up being in one of the earlier incarnations of Y.E.S. Troupe.”

The original production CADDIE WOODLAWN, which made it’s world premiere at SLT, marked Baltes’ first audition and mainstage performance. As she continued to develop her skills, the opportunities at SLT revealed pathways that Baltes hadn’t previously considered.

“I did a lot of the tech,” she explained. “At that time, you had to get Y.E.S. Troupe points. You basically had to accumulate a certain amount of volunteer hours to continue to participate in Y.E.S. Troupe.”

This requirement helped many young artists find their calling. While exploring various roles in the theater, Baltes took a break from Y.E.S. Troupe. “I did tech for a lot of shows. ANNIE and WIZARD OF OZ. A bunch of others.”

Yet, the pull of Beth Domann’s mentorship drew Baltes back to performance. “Beth ended up taking over [Troupe]. At that time, I was helping her work on the Summer Education Series. I rejoined Y.E.S. Troupe with a group of people and continued to do Y.E.S. Troupe all the way through high school into my senior year.”

Y.E.S Troupe has served as a coming-of-age for hundreds of young performers. Many alums across generations share similar fond memories of traveling for performances, learning from upper classmen, and the special opportunity to spend time inside the Landers Theatre.

“There were times where we would do sleepovers at the theater,” Baltes recalled. “The fabled stories of the haunted lore were etched in my memory and trying to see if we could discover the ghosts that live in Landers. Those were very fun memories of being granted a night to sleep over at the theater in the dark.”

After graduating, Baltes knew the arts were her passion and she moved to make them her profession. She enrolled in Missouri State (formerly SMSU) for musical theater performance.

“I quickly realized that was not the path for me,” she admitted. “After I decided to transfer out of SMSU as a musical theater performance major, Beth said, ‘I think you should go to school to be a stage manager, and I think you should go to Stephens College.’ I said, ‘Yes and yes.’ I honestly didn’t really know what a stage manager did, but I said, ‘If you think that’s the path for me, I’ll take you up on it. I’ll do it.’ So, I did, and I ended up getting my degree at Stephens in stage management. Then I ended up getting my masters in stage management.”

Baltes now manages interactive media for Tribeca Film Festival. She specializes in events featuring video games, extended reality, 3D and other immersive experiences on an international stage. “I moved to New York as a stage manager. I loved it. I loved every minute of it. It’s sort of what I do now at the festival even though it’s not fine performing arts.”

Although Baltes’ arts career has carried her to distant and exciting places, she still enjoys relationships that began at SLT.  “My closest friend – Brianna Firestone. I met her during one of the summer education programs that we were working on. She ended up being in Y.E.S. Troupe with me. We also went to Stephens together. We’ve been friends since high school and she’s still my best friend.”

Baltes confirmed the profound impact that SLT has had on her life and career. The opportunity to explore all aspects of theatre production and Beth Domann’s mentorship at SLT has provided a foundation in “most” areas of her life and career.

“Landers and Beth have been formative,” Baltes reflected. “I always will answer her call and jump in when I can.”

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