Jamie Bower Archives - Springfield Little Theatre

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

March 11, 2026 By Kelle Long

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.

: Jeff Hammock, center, with his wife Ellen and their daughter Kathryn.

: Jeff Hammock, right, making his Landers mainstage debut in Springfield Little Theatre’s 2012 production of ANNIE.

: Jeff Hammock, center, in Springfield Little Theatre’s 2012 production of OLIVER!

: Springfield Litte Theatre’s 2013 production of Monty Python’s SPAMALOT, with Jeff Hammock, left, Billy Gowers, right, and Jamie Bower, center.

: Jeff Hammock hosting the “blue carpet” event at Springfield Little Theatre’s Little Mermaid, JR. event benefitting Cystic Fibrosis in 2013.

: Jeff Hammock and Technical Director, Jamie Bower, at Springfield Little Theatre’s Under The Sea Spectacular event in 2013.

: Springfield Little Theatre’s Board of Directors for the 2015-2016 Season, includign Jeff Hammock, second row, second from the left.

: Springfield Little Theatre’s 2015 production of A FEW GOOD MEN at The Landers Theatre in 2015, with Jeff Hammock, right.

: Jeff Hammock, left, at a Ribbon Cutting event during Springfield Little Theatre’s Next Stage Campaign in 2018.

: Jeff Hammock, left, and Executive Director, Beth Domann, right, celebrating The Landers Theatre’s 109th Birthday.

: Jeff Hammock, left, with longtime staff of Springfield Little Theatre during a special Behind The Curtain event in 2020.

: Jeff Hammock, and wife Ellen, center, during Springfield Little Theatre’s production of VAMPIRE FUNERAL in 2022.

: Springfield Little Thetare’s 2022 production of VAMPIRE FUNERAL presented in The Reynolds Auditorium at The Judy in 2022.

: VAMPIRE FUNERAL co-creator, Dan Duff, with his wife, at VAMPIRE FUNERAL In 2022.

: Jeff Hammock, right, participates in a game during a special benefit performance of VAMPIRE FUNERAL in 2022.

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

May 8, 2025 By Kelle Long

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.

: Andrew Wilson as Prince Eric and Aryn Bohannon as Ariel in Springfield Little Theatre Educartion Department’s 2017 production of Disney’s THE LITTLE MERMAID, JR.

: Andrew Wilson with close friend Hannah Curnutt who passed away in early 2025.

: Hayden Gish Collins as Ariel and Andrew Wilson as Prince Eric in Springfield Little Theatre’s 2019 production of Disney’s THE LITTLE MERMAID, JR.

: A sketch of Andrew Wilson’s proscenium design for Springfield Little Theatre’s 2023 mainstage production of Disney’s BEAUTY AND THE BEAST.

: A snapshot of Andrew Wilson’s completed proscenium for Disney’s BEAUTY AND THE BEAST at The Landers Theatre in 2023.

: Andrew Wilson’s renderings for King Triton’s throne in this season’s mainstage production of Disney’s THE LITTLE MERMAID.

: Andrew Wilson’s design concepts for this season’s production of Disney’s THE LITTLE MERMAID.

: An in progress seahorse painted and designed by Andrew Wilson for this season’s THE LITTLE MERMAID at The Landers Theatre.

: Andrew Wilson, center, as Prince Eric in this season’s production of Disney’s THE LITTLE MERMAID during Kiss The Girl.

: Andrew Wilson sings “Her Voice” surrounded by the set he designed for this season’s Disney’s THE LITTLE MERMAID.

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

February 12, 2025 By Kelle Long

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.