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Musician Robert Pitts Looks Back at His Time at SLT

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Musician Robert Pitts Looks Back at His Time at SLT

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Musician Robert Pitts was a force on the trumpet. Even fresh out of school, he could command a room with his instrument. Each note rang out of his bell, clear and joyful. Always smiling and easy to be around, Pitts was a natural showman. People just liked listening to him.

As a music major at Missouri State University, Pitts was already in demand. He began playing gigs around Springfield and gaining a reputation for being talented and dependable.

“[I was] playing trumpet a lot around town and then got asked to sub for one of the trumpet players in one of the shows in the [Landers Theatre orchestra] pit. That’s how it started,” Pitts recalled. “I subbed for like two shows for that person. That turned into me playing three or four shows in the pit full time.”

After playing in the orchestra for only a few productions, Pitts was tapped to music direct at Springfield Little Theatre. He was quickly a favorite among casts and creatives. Pitts downplays the enormous impact he had on shows and performers. As many great leaders do, he gave credit to the entire team.

“I just think everybody [at SLT] had a common goal when we get together to do that,” he reflected. “I’ve never even thought about the professional side of that when I was doing it. It was more we’re all together trying to accomplish one thing and that is to make the audience feel like they are sitting in something special. It was a special time.”

Pitts’ first production as music director was SINGIN’ IN THE RAIN. He had a closer-than-front-row view from the orchestra pit and remembers one unscripted incident that caught everyone by surprise. Set production in that era was still handled mostly by hand and not by computers, which meant some elements could be cumbersome to control.

“When we did that production, they would turn on the water the scene before [the infamous rain scene] so it could get pressure built up. There was a valve on one end to keep the water from going and build up the pressure,” Pitts explained. “Well, they forgot to turn it off and during the [wrong] scene, water started raining in the apartment right before the dancing part. It was just hilarious.”

Pitts recalled that all the actors kept their cool and stayed in character. “In that scene was Chuck [Rogers], Craig Zuckerman, and Holly Rone. Everybody just started dying laughing. Craig goes, ‘Hey, it’s raining in your apartment.’ They just knew to go with it. It was so funny.”

One of the first people to give Pitts working credits is the late former SLT executive director, Mick Denniston. Denniston publicly cherished and supported Pitts, championing his incredible talents and encouraging the cast to appreciate working with someone so professional.

“[Mick Denniston] was one of the best, influential people I’ve ever worked with. He was such a great man. We miss him,” Pitts shared.

In 1997, Pitts moved to New York City to pursue a Broadway career. There was a collective sadness at SLT when Denniston announced to the cast who was in production at the time that Pitts would be leaving. After a year and a half in the Big Apple, Pitts returned for a brief encore and worked on a handful of SLT productions.

He later relocated to Columbia, MO where he met his wife. They returned to the Ozarks in 2012. Pitts has hung up his trumpet but now works supporting music education. Since moving back, he has guest directed the Springfield Youth Symphony. Today, he consults as a fundraiser working with school bands, choirs, and orchestras. He beams sharing that his son is in band and choir and his daughter is in choir in Nixa.

SLT has attempted to recruit Pitts back to the theatre, but family commitments have become the priority. Still, he looks back on his previous experience fondly. “My time at Little Theatre was the most special time in my life for the years I was there.”

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Director Chyrel Miller Gets the ANYTHING GOES Cast Ready to Set Sail

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ANYTHING GOES director Chyrel Miller has watched graduates of her dance program go on to take bows on cruise ships, national tours, and even Broadway.

Her own resume boasts elite dance training in Chicago, New York, and Paris. Miller began teaching at the university level when she was barely old enough to be a student herself and she has continued to master new styles. For all the rigor and exacting standards she has endured throughout her career, Miller makes sure that joy is at the center of her sessions.

“Community theatre is supposed to be fun, and you need to feel good about yourself when you leave. It takes a lot of courage to come to auditions and rehearsals,” Miller acknowledged. “The point is that no matter what they’ve got, no matter where they get to, by opening night when the curtain opens, they feel confident, and they feel good about themselves. It’s my job to make that happen, and they should never feel discouraged about what they’re doing.”

A childhood illness caused Miller to be clumsy, which her parents tried to correct through dance classes. At just four years old, Miller began her life of dance in a tap class at Barbara Fisher’s School of Dance on the 4th floor of the Vandivort building next door to the Landers Theatre. Soon, she was spending all her spare hours dancing.

“Being an only child, the dance studio became my social outlet, my rehabilitation, and my learning. I lived there Monday through Friday after school. On Saturdays, I went in at 10:00 AM then got home about 6:00 PM in the evening. I did that all throughout grade school, all through junior high school. When I got to be 11 or 12, if you were good enough, Barbara took the students who were there to Chicago for the summer to study at the Ruth Page Ballet School. I got to go every summer.”

The Joffrey Ballet was opening a second studio in Chicago when Miller got old enough to audition. She faced three rejections, but eventually she was offered a position. “Finally, they accepted me. In my ending days of high school, I took off and went to study with the Joffrey ballet. I got to go there.”

After graduating high school, Miller was getting contract offers in New York, but she was looking for more stability and a longer career. She asked the late Dr. Wayne McKinney if he knew of any teaching jobs. The timing was perfect. One of three dance faculty with Missouri State University – then SMSU – had just left. The job was Miller’s on the spot. She began teaching and simultaneously earned her undergraduate degree in Kinesiology from MSU followed by a masters in Exercise Physiology from Wichita State University.

What Miller didn’t expect was the pivot she would make from classical dance to musical theatre. The late Dr. Bob Bradley approached her to choreograph MSU’s production of CABARET. Looking back, Miller laughs that she didn’t know the show, musical theatre style dance, or even the name Bob Fosse. She admits that her style was more ballet than jazz, but it led to more opportunities. Bradley asked her to move into the MSU theatre department and direct. She accepted, but she had one important detour, first.

“I took off and started studying in New York with every current jazz teacher that I could find, thus I found [Broadway legends] Ann Reinking and Gwen Verdon at Steps and went, ‘Who are you?’” Miller laughed. “Going way back to Barbara Fisher’s studio, I took a bunch of kids, and they and I went to Broadway Dance Center and had dance classes for a dollar with Gregory and Maurice Hines. I studied Fosse forever with anyone I possibly could.”

Miller has now directed nearly every famous Fosse title for Springfield Little Theatre. Her former students Deirdre Goodwin and Michelle Potterf even went on to roles in CHICAGO on Broadway. Goodwin starred as Velma Kelly and Potterf played Go-To-Hell Kitty and was a Roxie Hart understudy.

After the success of CABARET at MSU, Dr. Byrne Blackwood asked Miller what she would like to tackle next. She ambitiously said A CHORUS LINE, although the rights were just barely becoming available. To their surprise, their application was accepted for the first non-equity production. The pressure was on for Miller to really step up and impress. Former SLT Executive Director Mick Denniston arranged to see a final dress rehearsal. He recognized her incredible talent and called Miller the following spring, asking her to direct at Little Theatre.

“Mick and I ended up with a relationship that I will cherish for my whole life,” Miller smiled. “He was funny, he was weird, he was gutsy, and he had drive and energy like [current SLT Executive Director] Beth [Domann] does, only maybe ten times more. He was young. Beth was his Education Director. Chuck Rogers he had brought over from Missouri State as his tech director. Everybody that was there was young, including me, at the time.”

From there, Miller’s life became a whirlwind of MSU productions, SLT productions, Tent Theatre, and shuttling students to dance intensives in New York. From 1969 to 2000, she was always on her toes.

“I was around those kids constantly and The Landers offered me the opportunity to fulfill my raging desire to direct and choreograph shows,” Miller explained. “MSU gave me a show in the fall, a show in the spring, and two Tent shows. I was just hungry. I filled in with all the Landers shows. So, by the time I got to 2000, I finished up at The Landers Theatre with SOPHISTICATED LADIES in June. I retired at the University because I had started so young. I now had full retirement benefits, so I left, and when I had been in New York one summer, I found Pilates.”

While taking summer dance classes in New York, Miller was feeling the ache of stressing her body to extremes for decades. She had once suffered eight broken ribs and a broken back while performing a pas de deux. Her fellow classmates recommended she incorporate Pilates into her routine to alleviate pain. In 2000, the fitness regimen was just reaching America. Classes were one-on-one by appointment only. Miller attended her first session and loved it.

“I decided that’s what I wanted to do for a living, so I applied for a sabbatical from the University. Totally thought I would not get it. They gave it to me,” Miller said. “So, I moved to Toronto, which is where I needed to be, and studied for a year and got fully certified. One of the first fully certified Pilates instructors in the United States.”

For the next decade, Miller focused on building the first Pilates studio in Springfield. Even SLT Executive Director Beth Domann became certified in Pilates under Miller’s instruction. Business was booming when Miller decided to step back from the studio. Domann immediately beckoned Miller back to SLT. Of course, her triumphant return was a Fosse production.

“I came in and did CHICAGO in 2011. My only requirement was that Bill [Hale], and I get married in the intermission of Chicago and Beth marry me,” she laughed. “So, we did that, and I used the chorus girls of CHICAGO in their fishnets and bare midriffs as my bridesmaids, and I used the guys in their jazz pants and leatherette covered in oil and glitter as my groomsmen, and we filled The Landers Theatre with champagne.”

ANYTHING GOES brings Miller back to her roots of tap and she recruited a former student to assist with the choreography. Felecia Black specializes in classic big Broadway showtune tap dancing. Together, they created a spectacle that incorporates a talented cast with varying levels of tap experience.

“You can’t bring them in and give them something that makes them not want to audition and be scared and to say, ‘I can’t,’” Miller dictated. “That’s my philosophy on auditions for musicals and working with the people at The Landers. I find that if you pick up those people that literally have the nerve and the energy and vivaciousness to come out and do it, that in 16 weeks when the curtain goes up, you will look fabulous.”

Miller and Black make a ‘perfect blendship’ team and are proud of the cast of ANYTHING GOES going into opening night. Miller is confident that they are ready to ‘wow’ the crowds.

“You’re building a theatre audience. If they never do a dance number again and never do a show again, if they can come back and appreciate what’s on stage and applaud for those people, you’ve succeeded.”

ANYTHING GOES runs June 12 – 28 at Springfield Little Theatre. Tickets are available now.

How Former SLT Board President Jeff Hammock Went from Accidentally Learning a Jazz Square to Co-Writing Original Play

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Jeff Hammock never meant to end up on the Landers stage. Long before his turn as Springfield Little Theatre Board President, Hammock was simply being a supportive father.

Like dozens of young girls, his daughter, Kathryn, dreamed of being cast in the 2012 production of ANNIE. The audition room was so crowded with orphan hopefuls that parents were asked to wait outside during their children’s audition – unless they were also trying for a part. Hammock sang for directors, simply for a chance to watch his daughter’s first-ever audition. Then, things took an unexpected turn.

“I was like alright, I’ll go up with you, and I’ll audition just so we can do it together, see what this whole thing is about and kind of learn,” Hammock recalled. “Of course, it was ANNIE, so there were eight million little girls and very few adults. So, I got a callback and she didn’t. But she handled it very well.”

Although his daughter had not advanced to the next step, Hammock saw his callback as a chance for the entire family to learn. He brought her to the final round of auditions so she could learn and prepare for the next opportunity. Almost by accident, Hammock ended up in the cast and the family began their SLT journey.

“So, I did the show, and from there, I learned that I knew nothing about the theater,” Hammock admitted. “There’s so much to it. I started going in and volunteering.”

The lesson Hammock tried to impart of persisting through rejection stuck, and Kathryn kept auditioning. Her onstage dreams came true the following season when they were cast in OLIVER! together. She continued performing at SLT in multiple productions and was a member of Y.E.S. Troupe. Today, Kathryn is a drama educator, shaping the next generation of performers.

As a volunteer, Hammock became fascinated by his new exposure to the production side of theater. He gained an appreciation for the complexity of preparing a show and became interested in all facets of the process.

“I have a State Farm agency. A lot of nights, a lot of weekends. But during the day, I’ve got a great team in my office, so I can get out of the office and go do stuff and volunteer,” he explained. “So, I went over and helped [technical directors] Chuck [Rogers] and Jamie [Bower] start building sets.”

Despite having experience with power tools, Hammock discovered that creating functional, movable set pieces was a different concept than building a fixed structure in a home. He enjoyed exploring the craft of set design under the seasoned expertise of Rogers and Bower.

“Learning about building a set wall is different than framing a house,” Hammock observed. “Two completely different animals. And lighting and making pieces fit and depth perception on pieces is a whole different world. There’s plenty to learn.”

As Hammock immersed himself in the world of theater production, he began dedicating resources to SLT’s cause. His State Farm agency began underwriting productions while he was performing and volunteering. His enthusiasm and dedication caught Executive Director Beth Domann’s attention. She proposed that he would be a perfect contribution to the SLT Board.

“Coming on the Board was eye-opening,” Hammock reflected. “It’s so different than running a business or working in the community. You’re taking a fiduciary responsibility and you’re trying to make sure that you’re doing what’s best for the organization as well as the team that works there.”

Hammock’s six-year tenure fell during the most ambitious expansion in SLT history since the group made the Landers Theatre their permanent home in 1970. He served during the kickoff of the Next Stages Campaign, which funded a structurally necessary renovation of the Landers and expanded the education department into its own building.

“The first act was preserving the Landers, which included tuck-pointing the entire building, inside and out, and addressing water infiltration issues,” Hammock detailed. “We reinforced the third and fourth floor rehearsal studios; redid the offices; among so many other things.”

Under the guidance of Education Director Lorianne Dunn, the education programs had exploded. To better accommodate all the young performers, Act Two of the Next Stages campaign was focused on identifying a new location to house the rapidly expanding Education Department. That search resulted in the purchase of the old McDaniel School Building that was transformed into the Judith Enyeart Reynolds School of the Performing Arts. Lovingly nicknamed The Judy, the building was perfect with multiple classroom, studio, and performance spaces.

“I was President during that and the kickoff. I got to actually sign the contract to lease The Judy the first time, and I signed the contract to buy it, and that was an honor,” Hammock smiled. “I don’t want to say it was easy, because it was not easy, but it was very rewarding work. The only thing I had to do for the Board was get their heads wrapped around saying, ‘Yes.’ Because as soon as we said, ‘Yes,’ to do something, I knew the team at SLT was going to accomplish it.”

Reflecting on his impactful time at SLT, Hammock laughs that he didn’t even know how to execute a jazz square when he started in ANNIE. He readily admits that on stage skills provided the sharpest learning curve, but after being involved in performance, technical, and fundraising aspects of theater, he made a surprising pivot to playwright.

During downtime amid the COVID pandemic, Hammock and artist Dan Duff came up with an idea to write their own interactive show. Hammock had recently underwritten the classic TONY ‘N’ TINA’S WEDDING and invited Duff. The duo was inspired and decided to develop a Halloween themed version, which ultimately became VAMPIRE FUNERAL. The show sold out at The Judy and raised nearly $25,000 for SLT.

“[Dan] is a local artist who is fabulous,” Hammock praised. “He’s the one who did the word art painting of the Landers. I invited him to see [the immersive shows I had underwritten] and we were like, ‘Hey, this is fun.’ It was COVID, we lived close to each other and could work together. Both of our spouses worked at Cox together. We started writing. It was going to be a little more serious, then we ended up writing VAMPIRE FUNERAL. Just out of nowhere, it was like, let’s just try and do something.”

Hammock is always on the lookout for the next opportunity to stretch his creativity and support SLT. He recognizes that not everyone can invest as fully as he has, but he encourages people to contribute what they can. After developing new skills and establishing new friendships, he has seen his efforts paid back to him in rich experiences. The SLT elevator pitch that he honed as Board President may be the best way to sum it all up.

“When you’re talking about the Little Theatre, there are three amazing things that suck everyone in once you get involved down there,” he shared. “One is the volunteers. They have the best volunteers on the planet. The people who volunteer down there love it. You like to be around them. They’re fun people. Then the team – Beth, Lorianne, Chuck, Jamie. You can’t help but like them, and you want to be around them, and you want to help them succeed because they want the community to succeed. It’s so easy to work for them. Then that building, you just fall in love with The Landers. It is so beautiful, such history, and so many great things have occurred there that you just fall in love with the place.”

Learn how you can support SLT’s development for future generations, today.

Actors Todd and Ali Smith Reflect on a Lifetime at SLT

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Todd and Ali Smith have played some of the most beloved characters in theatre history, and many right on The Landers stage. Springfield Little Theatre audiences have seen Todd as Tevye in FIDDLER ON THE ROOF and Ali as Aldonza in MAN OF LA MANCHA. The Smiths have been artistic partners in many projects across four decades. Both are musically gifted and trained in acting and improv. They have performed together in mainstage productions as well as original pieces they wrote together.

“We used to do a thing called Smith & Smith,” Ali relayed. “People would hire us all over the place and we would perform for parties and conventions and stuff like that. We would do 20 or 30 minutes of parodies we had written.”

Sharing the stage has been a source of joy throughout their marriage. In fact, their performing partnership predicated their romance and began at Springfield Little Theatre. The pair met when they were cast as the leads in one of musical theater’s greatest love stories, THE MUSIC MAN. Sharing scenes as Harold Hill and Marian Paroo, their real-life chemistry was undeniable.

“So, in 1986, Ali and I were cast opposite each other in THE MUSIC MAN,” Todd began, recounting the short version of a story they have clearly told together countless times. “Then, that was it for us. We knew that’s what we wanted.”

Less than a decade later, they would reprise their roles on a larger stage. SLT partnered with Juanita K. Hammons Hall in 1995 to present a community production of THE MUSIC MAN. By then, the Smiths were married and raising a toddler, but they were once again cast as the leads.

“That was the first nonprofessional production on that stage after Hammons Hall opened. It was kind of a big deal,” Todd recalled. “We had a horse drawn carriage for the Wells Fargo wagon. In Act 1 when the curtain rose, I forget what kind of car it was, but it was an old 1905 automobile on stage.”

“It was a big deal. It was terrifying,” Ali confirmed. “I remember one night we went up in the second balcony when there wasn’t anybody there just to get the audience view and we were like, ‘Holy cow, this is a big place.’”

While the cast was comprised of volunteers, there was a notable Springfield celebrity in the cast.  “If you remember, we also had Ned Reynolds,” Ali giggled. The beloved sportscaster played Harold Hill’s foil, Charlie Cowell. “Whenever we do an ice breaker like in a Sunday school class or something and they say, ‘Tell us something about you we don’t know,’ I always say, ‘I have kissed Ned Reynolds.’ He still calls me ‘Girly Girl’ when he sees me.”

When their child, NYC performer Jody Smith Harper, was born, the couple stayed engaged at SLT, but recall ‘taking turns’ performing to raise their family.

“[SLT] been pretty much a constant throughout our adulthood,” Todd remarked.

“Our marriage for sure,” Ali added.

Ali was the first of the pair to be an SLT regular. She recalls seeing shows with her family that predate SLT officially adopting the Landers Theatre as its home. “I’ve got programs from the late 60s,” she revealed. “When they were performing at Central [High School] and Clara Thompson Hall at Drury, [my parents] took me all the time to the musicals and stuff.”

Throughout her childhood, Ali was a natural performer. She recalls singing with her stuffed animals for her sisters. As she grew up, she became more serious about music, performing in high school productions and studying music and theater in college. She graduated with a degree in theater. “I’ve always been a little extroverted,” Ali laughed.

Following graduation, Ali returned home to Springfield and began regularly volunteering at SLT through the Junior League. Her volunteer placement backstage led to nine years as president of the Stage Technician’s Guild on the Board.

“[Former SLT Technical Director] Chuck [Rogers] and I started the volunteer organization called BRAVO – Backstage Running Crew and Volunteer Organization,” Ali explained. “We had our own awards we gave out. Chuck and I started The Frannies.”

Ali recalls her grandmother being close with The Frannies awards namesake, Frances Vandivort. “The reason we picked ‘The Frannies’ was for Frannie Vandivort who was my grandmother’s best friend. Frannie was part of my life. My grandmother worked in the concession stand, because she didn’t want to be on stage, but she always did it when Frannie was in something. They would use her furniture and stuff. It’s always been a part of my life.”

Her family remained dedicated patrons of the arts. When Ali lost her mother at just 26 years old, the family donated the magnificent chandelier at the Landers in her memory during the 1985 remodel.

Todd also volunteered on the SLT Board of Directors for four years, eventually rising to serve as Board President. In his final year, Ali directed YOU’RE A GOOD MAN CHARLIE BROWN. She notes the production marked SLT alum Lucas Grabeel’s final production. They were also leads in Grabeel’s SLT debut, OLIVER!.

“Springfield Little Theatre is such a unique thing. For a town our size to have this continuously running, very busy place for 90 years is unheard of,” Todd reflected. “The thing that I enjoy most is when I’m in a show – and this dawned on me in OLIVER! – there aren’t many things in life where people from all ages, all walks of life, all different interests are put together and have a common goal. I think that is just so cool.”

“Some of our best friends are in their 20s. I don’t know about that in very many other instances,” Ali added.

“Especially in the world we live in today,” Todd continued. “It’s almost impossible to get people from disparate backgrounds, different thoughts about things to admit they have anything in common.”

The duo still volleys between backstage and on-stage contributions. Ali worked on crew when Todd performed in SOMETHING ROTTEN. Recently, Todd performed in one of his dream roles as Tevye in FIDDLER ON THE ROOF. Ali worked backstage for the show and later that season, they served on crew together for GUYS AND DOLLS. The pair say that being in the theater is all that matters to them.

“If I really love a show, I enjoy being in the chorus,” Ali professed. “There’s nothing wrong with that.”

“I’ve had some of the most fun just being in the chorus like SPAMALOT,” Todd agreed.

“I love working backstage, too,” Ali said.

Todd recalls that he fell in love with many shows as a child from the perspective of an audience member. He has grown into several of those roles and given them his own spin as an adult.

““[Springfield] Little Theatre used to do one big musical a year. They would bring in a well-known star. In fact, when they did OLIVER! at the Landers, Betty Buckley was Nancy,” Todd recalled. “They were either an up-and-coming new talent, or a TV star everybody knew by name. In 1970, they did THE MUSIC MAN. The guy who played [Harold Hill] was a guy named Robert Horton from a western called WAGON TRAIN. That was a big deal to have a TV star on stage.”

After all the shows the Smiths have watched, directed, acted in, and worked tech for, THE MUSIC MAN remains a special tie through their relationship.

“THE MUSIC MAN is the first live theater thing I ever saw. It’s the thread,” Todd declared.

“It’s also the first show I was ever in in high school,” Ali added. “My dad was a barber shop singer, so he sang all THE MUSIC MAN barbershop stuff, too. It’s just been kind of the heartbeat of our lives. We just didn’t know how big of a deal it was gonna be.”

Begin your SLT volunteer journey this season. Explore opportunities to get involved now.

Performer and Scenic Designer Andrew Wilson Dives into DISNEY’S THE LITTLE MERMAID for the Third Time

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Andrew Wilson knew DISNEY’S THE LITTLE MERMAID by heart before he had even heard of Broadway or knew what it meant to be on the stage.

“When I was a kid, we watched THE LITTLE MERMAID all the time. There was this bonus feature on the DVD, and it showcased the Broadway show. I was just enamored,” Wilson recalled. “I didn’t even know what Broadway was at that point because I was a wee baby. That was my first discovery of theatre. I would perform little shows for my grandparents and dad with my Ariel dolls along with the soundtrack.”

Now, Wilson is performing the starring role of Prince Eric for a third time at Springfield Little Theatre.

“My first big deal, lead role was actually Prince Eric in THE LITTLE MERMAID JR. in 2017,” he explained. “That was the first time I did the show. That featured [Broadway performer and SLT alum] Aryn Bohannon [as Ariel]. That was really cool.”

That production was presented through the SLT Summer Institutes under director Andy Willadsen. Summer Institute shows are rehearsed and performed at a rapid pace.

“Obviously, the Summer Institutes are way different than the actual shows we do,” Wilson recognized. “We had two weeks to do it. It was a more mature role than I was used to. I was very nervous for it.”

His second time going under the sea was opposite Hayden Gish Collins two years later. It was during that production that he bonded with best friend, the late Hannah Curnutt. The SLT community was devastated last year when she passed away suddenly. Wilson holds tight to their memories.

“It was a very, very special experience. A lot of people from the JR. version in 2019 felt how special it was because of Hannah. Hannah made that show very special,” he shared. “Going into this one, I kind of brought her spirit with me. I think of singing ‘Her Voice’ to her every night. ‘Her Voice’ is my favorite part of the show because I get to dedicate it to her and sing to her. It’s just really, really special.”

Although the character is familiar territory, Wilson’s role in the full-length version is expanded from those productions. The rehearsal period was extended compared to a Summer Institute, but he had significantly more material to learn. The “JR.” version consolidates the plot and even cuts down on musical numbers. As Prince Eric, he looked forward to longer versions of songs with additional choreography.

“Eric has a lot more singing in the full version than the JR. version,” Wilson noted. “I had a snippet of one of my songs in the JR. version and that was about it. So going into this one, I’m really excited about doing all the songs I’ve loved since I was a kid. I was glad to do the full ‘One Step Closer’ dance break with Reghan [Skiles] as Ariel.”

The extended scenes and songs weren’t all that Wilson had to prepare. In addition to being the scenic designer at the SLT’s The Judy education building for more than three years, Wilson stepped up to design a mainstage Landers Theatre set for the first time. He jokingly admits to ‘dropping hints’ to director Lorianne Dunn about his interest in helping with the set. She eventually called on him to submit ideas, but he didn’t anticipate that he would end up as the show’s scenic designer.

“I came up with a concept. I thought that really was all I was doing,” he confessed. “I thought I would help paint the stuff, but I just wasn’t sure how involved I was going to be in all of this yet. Once I showed [Lorianne] the concept, we went into all the other designs for the show like Urusla’s throne, her lair, Ariel’s grotto. She kind of just gave me free rein. She trusted me.”

Immediately after designing and constructing the set for THE ARISTOCATS, KIDS at The Judy, Wilson jumped into creating the aquatic and seaside worlds of THE LITTLE MERMAID. He recalls being nervous about the set construction, expecting to shoulder the entire execution of his designs single handedly, as he often does at The Judy. The scope and scale of this project, however, was more than he had tackled before. Wilson was relieved to find there was a community effort that included technical directors Jamie Bower and Corbin Chaffin leading construction.

“I remember going into rehearsal, I saw these bubble sliders that I designed. The Ursula throne was cut out, Ariel’s grotto was cut out and built. I was like, ‘Whoa. This is so cool,’” he smiled. “I felt such relief to have Corbin and Jamie and all of our other volunteers already working on my designs. It made me feel so much better about how everything else was gonna go. It really set the stage for the rest of the construction and painting process. I’m very, ver,y very grateful to Corbin and Jamie and Cindy [Timson] and Trudie [Courtney] and Barb [Parker] and Melissa [Briggs] and all of our other volunteers who helped contribute with all of that.”

Wilson had assisted with Landers set construction before, including on another Disney title. That experience set the standard for the quality he wanted to design on THE LITTLE MERMAID.

“I know, since I have been here for so long and seen [former SLT Scenic Designer] Chuck [Rogers]’ work, the scale and quality that we need to produce at the Landers consistently. I knew it could not be wimpy. It needed to be pretty,” Wilson explained. “It needed to be the same level as BEAUTY AND THE BEAST that we did a few years ago. I was lucky to help on that. I got to do that big rose proscenium for that show. That was really cool. That was the first big thing that I worked on over at the Landers painting wise.”

In place of Belle’s roses, Wilson opted for a seashell and seahorse motif for Ariel. The majestic ocean life frames the stage in whimsical water tones. Wilson let his best design secret slip when discussing the magnificent set piece.

“I think what’s very important in set design is a great proscenium,” he advised. “I think as long as you have a great proscenium, you’re golden.”

Wilson credits his grandparents with introducing him to the arts. His late grandfather, Wes Wilson, was a famed poster designer for rock artists including Jefferson Airplane, Otis Redding, the Grateful Dead, and even The Beatles. He is also credited with creating the popular ‘psychedlic’ font. Wilson attributes his fine art skills to inheriting his grandfather’s talents.

Wilson’s grandmother, Eva Wilson, grew up dancing in Hollywood as daughter to an Oscar nominated screenwriter. She began taking Wilson to SLT performances as a young boy.

“My grandma was the one who really started taking me to shows,” he recalled. “We went and saw BIG RIVER and then I started to get an inkling that maybe I should be up there with everyone during that show.”

Wilson’s inclination was correct. Although he didn’t land a role with his first audition, Wilson’s mother recognized his interest and signed him up for an education series production. He was hooked, participating in summer programs, mainstage shows, Y.E.S. Troupe, and tech camps.

Wilson has since headlined as Danny Zuko in GREASE, Buddy the Elf in ELF: THE MUSICAL, and he shared the role of SpongeBob SquarePants with Eli DePriest in SLT’s first ever production of THE SPONGEBOB MUSICAL.

Wilson’s first ever character role at SLT was Lennie in JUNIE B. JONES. Coincidentally, that show would become Wilson’s first directing credit at The Judy this season. Wilson has found his calling working professionally in the theatre, but his most difficult task is determining his path from here. As a performer, director, and designer, he anticipates having to narrow his interests.

“To be honest, I am very much on both sides at the moment – performing and designing. That is something I am honestly really trying to figure out,” he admitted. “Obviously, I would love to do both. I have much love for both in such different ways. I love performing because I get to be on stage and I get to sing, which I love to do. On the other hand, I love to design the world. [Directing] was a really fun experience because the two coincided with each other more than acting and scenic design did. Directing and designing go hand in hand much better. I didn’t have to go to anyone else. I just had to talk to myself and come up with everything. I would love to do more directing in the future.”

For now, Wilson says he’s open to all opportunities, soaking up each experience. He earnestly and often professes his gratitude to past and present mentors at SLT including Andy Willadsen, Chuck Rogers, Lorianne Dunn, Josh Inmon, and Zoe Zelonky who recognized different facets of his talents and gave him opportunities to explore his abilities. Wilson is constantly seeking out opportunities to learn, including from other artists like set painter Barb Parker.

“I remember growing up seeing a lot of her stuff – just being amazed by what she can do with paint,” Wilson marveled. “I still find myself referencing her work, like for FROZEN, JR. I had to replicate these icicles that she painted the last time we did it. That was like a whole paint study. I just got to do a study on her work. For her to come in to work on MERMAID was full circle. She made so many of my things come to life with her artistry for LITTLE MERMAID.”

Catch Andrew Wilson’s design and performance talents in DISNEY’S THE LITTLE MERMAID through May 11.

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.

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.

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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