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A World of Whimsy Returns: SEUSSICAL THE MUSICAL Comes to Life at Springfield Little Theatre

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A World of Whimsy Returns: SEUSSICAL THE MUSICAL Comes to Life at Springfield Little Theatre

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Few titles in Springfield Little Theatre’s history have sparked as much joy across generations as SEUSSICAL THE MUSICAL. For many in our community, SEUSSICAL is more than a show; it is a memory. It is a celebration of imagination, heart, color, and the timeless magic of storytelling. Since its first appearance as part of The Landers Theatre mainstage season in 2008, SEUSSICAL has become one of Springfield Little Theatre’s most beloved and enduring productions, charming audiences and performers alike through multiple incarnations over the years.

Springfield Little Theatre’s mainstage production of SEUSSICAL THE MUSICAL, 2008.

That first Landers production in 2008, featuring a cast of all ages, quickly became a community favorite. Since then, the world of Dr. Seuss has continued to spring to life across Springfield Little Theatre’s stages: SEUSSICAL JR. in The Landers Family Series in 2013, SEUSSICAL JR. as part of Springfield Little Theatre Education Department’s Summer Institute Series in 2016, SEUSSICAL KIDS in 2022 in conjunction with Springfield Public Schools’ Academy of the Fine and Performing Arts at The Judith Enyeart Reynolds School of the Performing Arts, again on The Landers Theatre stage in 2022 as part of the Summer Institute Series, and most recently, SEUSSICAL KIDS in 2023 as part of Springfield Little Theatre’s Summer Series in the Reynolds Auditorium. (Even Springfield Little Theatre’s SLT Late Night series has embraced the world of Dr. Seuss with WHO’S HOLIDAY!, the adults-only comedy that has played to sold-out audiences for two consecutive years — proving that these characters, and the unexpected heart they carry, can even translate in surprising ways to a grown-up theatrical space.)

In addition to its many onstage productions, SEUSSICAL has also reached far beyond Springfield Little Theatre’s own stages through the work of the Springfield Little Theatre Education Department. Through school touring efforts, productions of SEUSSICAL have been presented at area schools, bringing the joy, imagination, and heart of live theatre directly to students in their own communities. Springfield Little Theatre has also assisted Barnabas Prep, in partnership with Camp Barnabas, in providing inclusive theatrical experiences that reflect the very spirit of SEUSSICAL, celebrating every voice, every imagination, and every individual exactly as they are.

With each new generation of performers and audiences, SEUSSICAL has proven that its magic does not fade — it grows.

At the heart of the story is Horton the Elephant, who discovers a speck of dust containing the tiny world of the Whos. As he works to protect them, Horton also finds himself responsible for an abandoned egg left in his care by the carefree Mayzie La Bird. Along the way, audiences are swept through the Jungle of Nool and beyond, meeting favorite Dr. Seuss characters including the Cat in the Hat, Gertrude McFuzz, Jojo, and more. What unfolds is a heartfelt, hilarious, and deeply moving musical about friendship, loyalty, imagination, and standing up for what is right, even when others do not understand.

Woven together from some of the most beloved stories of Dr. Seuss, SEUSSICAL captures the wonder of his world while delivering a message that remains as meaningful today as ever. With music by Stephen Flaherty and lyrics by Lynn Ahrens, the score is lively, heartfelt, and unforgettable, filled with songs that lift the spirit and leave audiences smiling long after the curtain falls.

And that is the lasting magic of SEUSSICAL: it belongs to everyone.

It is a show for children discovering these characters for the very first time, for parents and grandparents who grew up with these stories, and for every audience member who still believes in the power of imagination. It is joyful and funny, tender and triumphant. Beneath its bright colors and playful rhymes is a story full of courage, compassion, and hope.

This new production, directed and choreographed by Lorianne Dunn, brings fresh life and new energy to SEUSSICAL on the stage of the historic Landers Theatre. Dunn, who also directed and choreographed Springfield Little Theatre’s original 2008 production, returns to this beloved title in a meaningful full-circle moment. Joining her on the creative team this time are Josh Inmon and Brandon Russell, both of whom appeared as Wickersham Brothers in that very first production. Their return adds a special layer of continuity and legacy to this revival, connecting the heart of the original production to a new generation of artists and audiences.

The Creative Team of Springfield Little Theatre’s 2026 production of SEUSSICAL. Bottom right: Lorianne Dunn, Director/ Choreographer; Bottom left: Jessica Bower, Assistant Director; Top right: Brandon Russell, Vocal Director; Top left: Josh Inmon, Assistant Choreographer

And this is no stale return to familiar material. This production promises to feel immersive, vibrant, and full of discovery, transforming the historic Landers Theatre into a world of color, wonder, and imagination where audiences are invited to step directly into the pages of Dr. Seuss. It is a reminder that a beloved title can still feel fresh, surprising, and deeply moving when placed in the hands of artists who understand both its legacy and its limitless possibilities.

For the cast of this production, joining SEUSSICAL at Springfield Little Theatre means becoming part of something much bigger than a single run of performances. Together, they now join the ranks of more than 400 performers who have brought SEUSSICAL to life in Springfield Little Theatre productions over the years; a legacy of creativity, joy, and community that continues to grow with every new staging.

Some stories endure because they are familiar. Others endure because they continue to reveal something new. SEUSSICAL does both.

It reminds us to listen closely, to care deeply, to imagine boldly, and to believe that even the smallest voice matters. It offers spectacle, laughter, and music, but it also offers something more lasting: joy. The kind that crosses generations. The kind that softens even the most Grinch-y heart. The kind that sends you back out into the world a little lighter than when you came in.

This spring, Springfield Little Theatre invites audiences of all ages to experience that joy once again as SEUSSICAL THE MUSICAL takes over the historic Landers Theatre.

Come step into the jungle. Come visit the Whos. Come rediscover why this musical has captured Springfield’s heart time and time again.

Because in the world of SEUSSICAL, anything is possible — and a person’s a person, no matter how small. Tickets on sale now.

Glenn Snead and Hannah Hunt starred as The Cat and Jojo in Springfield Little Theatre’s 2008 production of SEUSSICAL.

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.

Choir Director Alberta Smith Found a Refuge in Theatre Then Paid It Forward at SLT

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There is a great comfort in practicing a song, then looking across the music stand to see choir director Alberta Smith cheering you on. Her joyful spirit and enthusiastic encouragement are often the greatest reward for a hard-fought performance. Affectionately referred to as “Smitty” by her students, Smith is best known for her musical talents. However, she is passionate about being involved in every facet of theater. Being well rounded, she says, is at the heart of Springfield Little Theatre’s culture.

“I was on and off stage. I love doing both kinds of things,” Smith professed. “It seems like everybody does that at SLT. If you get really involved, you’re not just on stage. If you’re just on stage, it’s like, why would you do that? There are so many jobs you can do to help out.”

Smith is now the Choir Director at Westminster Presbyterian Church following more than forty years as a choral director across Missouri. Locally, she is perhaps best known as a beloved former teacher at Central High School where she was once a student. Her cheerful disposition seems innate, but her passion for students in the arts was born in her own crisis.

Smith’s parents deserted their family when she was just entering high school. Courts granted her older sister custody of the young teen when she was in her freshman year. Despite the domestic turmoil, Smith’s friends encouraged her to audition for the Central High School production of THE LARK, featuring the life of Joan of Arc.

“It was a drama, not a musical. I tried out for it, and I got a role in it,” Smith recalled with wonder. “I was Joan’s little sister. Then I was the understudy for Joan.”

Smith dedicated herself fully to her assignments. Performers can be tempted to be dismissive of an understudy position, especially for a short run of a show. She, instead, was thorough, learning multiple roles of her own and fully committing the lead to memory. When the senior student cast as Joan became unavailable after the first performance, Smith stepped into the spotlight for the rest of the weekend. 

“As the understudy, I took that really seriously and I memorized her entire role. It was a lot,” Smith admitted. “[Joan] was the centerpiece of the show. We had three performances. They let the senior play it once. I, as the understudy, played the other two. That was my first introduction to theater.”

Through that performance, Smith discovered her passion and connected with a lifeline. Central’s drama teacher at the time, SLT alum Kay Jones, encouraged her to continue in theater, and gave Smith somewhere stable to live – with Jones’ mother. Jones was active at SLT and invited Smith to explore opportunities within the organization.

“[Kay] played leads in big shows,” Smith admired. “She played in WHO’S AFRAID OF VIRGINIA WOOLF with Tess Harper, and I worked backstage for that show. Kay was like, ‘You should come work for the show.’ I think I worked CAMELOT, MAME, WHO’S AFRAID OF VIRGINIA WOOLF, and then the beginning of my sophomore year, I tried out for a play. I got the part.”

Jones inspired Smith to continue in the theater, but she always knew she loved singing. It wasn’t until her junior year that Smith connected with one of her biggest lifelong mentors and fully realized her passion for music.

“I got in choir with Connie Bilyeu. I wasn’t even in there with her until my junior year of high school. I was doing all the drama stuff,” Smith emphasized. “I asked her to play for me at the drama banquet. She played for me and asked, ‘Why aren’t you in choir?’ So, then I got back into choir.”

Having an outlet where she could be creative and challenge herself during a difficult time at home revealed to Smith what the arts can do for young people – especially in times of need. She loved the craft and became committed to helping kids. Bilyeu helped her envision that interest as a career.

“I did a lot with her, worked for her a lot, helped her as much as I could. She said, ‘I think you could do this, if you want to,’” Smith recounted. “In my mind, the way I grew up and everything behind me, it never even dawned on me that I could go to college. I hadn’t even thought of it. I decided then, I’m gonna be a choir teacher, so that’s what I did. I never looked back. I never doubted it at all.”

Smith has become that inspiration and champion for her own students. She enthusiastically praised former students who have graduated and gone on to build – and even found – arts organizations in the Ozarks.

After attending Southwest Baptist University and teaching in St. Louis and rural Missouri, Smith primarily taught at Central High School in Springfield. In the 2000s, she noticed her students were as plugged into SLT as she once was.

“When I started teaching [at Central] I realized, ‘Oh my goodness, these kids do it all.’ They did the IB program, they did my program, they did Gretchen Teague’s program, and they did Y.E.S. Troupe,” she marveled. “I didn’t understand how involved that was for them. They just juggled it all. They came to everything I needed them at. They rarely missed.”

One year, Central and SLT partnered to take students to New York and Smith served as a chaperone. It would become the first of many such trips and led to her more dedicated involvement in the SLT education program.

“I really got to know the Troupe kids [on that trip], then [SLT Education Director] Lorianne [Dunn] asked me if I would do their vocals,” Smith explained. “I did it for several years. We did New York trips so that each student involved in Troupe could go to New York once in their four-year term with Y.E.S. Troupe.”

Smith says teaching at SLT reinvigorated her own interest in performing. Although doing shows for an audience is always special, Smith says that her most magical memory at the Landers actually occurred during an audition. Several of her own students watched her callback for CATS. All the auditioners who were up for a role were asked to sing ‘Memory.’

“A whole bunch of my kids at Central, had tried out for CATS and made callbacks. They were all standing in the wings watching me sing,” Smith reminisced. “It didn’t really dawn on me, they had never heard me sing in a professional sense. Of course, they would hear me sing in choir and at the end of the year I would always sing this song called ‘May You’ to the seniors, and I would cry my way through it, so that was their memory of me singing. But I nailed that song in my audition. I turned around to walk out, and those kids all came rushing me and crying like, ‘We didn’t know you could sing like that!’ That is like my greatest memory.”

That audition landed her the role of Jennyanydots, marking her first named role in a musical at SLT. Previous performances she enjoyed include JESUS CHRIST SUPERSTAR, SWEENEY TODD, CINDERELLA and CHILDREN OF EDEN. Smith says she has marveled at all the talent she has seen and performed with at the Landers. Many have gone on to great professional success, including her own students.

“Think of all the families that have been [at SLT], starting with the Crosbys back in the 70s. Kim [Crosby] was in OLIVER! Being in a show with Betty Buckley – she played Nancy in that show,” Smith recalled. “Then I was in other stuff like THE MAN WHO CAME TO DINNER. Tess Harper was in that. I was in a show with Tess Harper. It was just fantastic and just all the people who have gone on and done incredible things that you get to share the stage with.”

Throughout her career, Smith was busy raising her own family who shared her interest in music. She appreciated that bringing her children to work always felt welcome and that they also enjoyed being involved.

“It’s this place that feels like family. Everybody is very connected. I think any place you’re at, any program you’re at, connecting with people is the most important thing. SLT is really, really good at that,” Smith reflected. “[My daughter] Aubrey was in a lot of those shows with me. She was very focused on opera, but we did several shows together and that was so much fun. My older son, Quint, I dragged him along to everything. He had to sit in the auditorium at the Landers and watch me. My grandson definitely is going to be at SLT when the time comes.”

Smith says she has stayed involved at SLT because it aligns with her primary value as an arts educator. If there is any lesson she successfully imparts on all her students, she hopes it is this.

“SLT has an environment of kindness and this drive to persist to the perfection. You should always persist to the perfection,” she encouraged. “Don’t expect to achieve it, because it’s live theatre. Anything can happen. All of us have seen stuff happen on stage. It’s that dynamic of its real life, but it’s all of these people persisting to that perfection that makes it so special.”

Explore education opportunities at SLT this season.

 

Austen McGranahan Padgitt Uses Her SLT Training On Stage and in Her Nursing Profession

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Austen McGranahan Padgitt remembers the moment she saw her dreams converge on the Landers stage. She was a 2nd grader participating in Southwest Children’s Choir and taking dance classes when her mom took her to see Springfield Little Theatre’s production of ANNIE.

“I had never been to the theatre until that,” Padgitt recalled. “I watched it, loved it. I had always grown up in dance and I sang and all those things. I can remember it ended, and the curtain drops, and we sat in the balcony. I looked at my mom and I said, ‘I’m a star, I need to be here.’”

Padgitt giggles now at her youthful bravado, but the passion that powered her confidence opened her to a lifetime of growth in the theatre. Padgitt became involved in the SLT education programs and was ready when the next opportunity came around to be in the musical that ignited her theatrical spirit.

“[ANNIE] was the gateway for me to be like, ‘Wow, I could do this. It’s awesome.’ Then I did [ANNIE] in high school. The last time we did it at [SLT], I was in it. I played in the adult ensemble. I did request to be the tallest orphan, but [director] Lorianne [Dunn] told me I look too much like an adult, so I couldn’t, sadly,” Padgitt joked.

Her journey has now come full circle as she performs one of her dream roles in the show that sparked her on stage dreams. In the 2012 production, Mackenzie Huley Breen played the conniving dimwit Lily St. Regis. Padgitt remembers idolizing Breen’s dancing abilities and amusing portrayal of the character. When ANNIE was announced in the 91stseason, Padgitt set her sights on donning the bleach blonde wig.

“I always wanted to be Lily. I was like, I’m old enough now I could actually do it. I could truly be her character and not some little kid trying to play it,” Padgitt reasoned. “I was like, I’m going to try out and say I want Lily.”

When she nailed the audition, Padgitt was overjoyed to receive the blessing of her predecessor in the role.

“[Mackenzie] was Lil and she was always dance-wise like a big sister to me,” Padgitt explained. “It was fun because we got to do that [show] together. When the cast list came out, she texted me and was like, ‘Oh my god! You’re gonna be it!’ I was like ‘I know! Isn’t this crazy?’”

Padgitt has had several lead roles but said that Lily St. Regis gave her opportunities to flex different performing muscles. She considers herself a dancer first, but her singing voice has opened doors to more projects. Playing this part gave her an acting palette she doesn’t always get to use.

“This role was fun, too, because I get to be funny,” Padgitt noted. “Usually if I’m cast in a role where I get to dance and sing and all the things, I’m usually like playing the ingenue. Only one other time have I gotten to play a villain, in KINKY BOOTS. That’s the only other time I’ve been mean on stage. It’s fun to get to be mean but also be so dumb. [Lily] is just a goldfish. She’s so goofy. It’s great.”

Padgitt’s mom, Jamie McGranahan, was a prima ballerina and her parents met in show choir. Her dad, Clay, was a national speech and debate champion. When Padgitt became heavily committed to theatre, they were spending more time together as a family downtown.

When Padgitt was in middle school, Education Director Lorianne Dunn developed an inclusive series incorporating art for performers and audiences with disabilities. Director Kendra Chappell and American Sign Language specialist Cindy Winsky Lear produced an inclusive version of CHARLIE AND THE CHOCOLATE FACTORY. Padgitt’s brother, Connor, earned a role. As a deaf and autistic performer, their parents assisted him and became even more entrenched in SLT. The creative team encouraged Padgitt’s dad to be in more shows.

“As I got older and Connor got older, [my parents] were like, ‘Well if we’re bringing her all the time, why shouldn’t we also enjoy this?’” Padgitt explained. “If I was in a show, my dad would see every show. Then SEUSSICAL THE MUSICAL, [my parents] auditioned and my dad was Yertle the Turtle, and they were both Who’s with me. We did LEGALLY BLONDE and a couple of other shows together. Then I went away to college, and he was doing other work stuff that was big time stuff for him. PIPPIN came around and they were like, ‘Hey, we really need some more guys to come out for the King.’ He shows up and blows it out of the water in audition.”

Throughout her training at SLT, Padgitt acquired comprehensive skills on and off stage. As her high school career was ending, she considered pursuing performance professionally but ultimately felt another calling.

“I come from a family, for many generations, that are service based, giving oriented,” Padgitt recognized. “Everyone in my family my entire life, truly, I can’t think of a single person who didn’t do something that gave back to humanity or the community. I just saw that, and I think obviously theatre gives back to community, especially in the way that we do it at SLT. But I just knew there was something else besides theatre for me.”

Padgitt turned toward medicine, challenging herself to apply for one of the most selective nursing programs in the country. She applied to the University of Missouri to become a registered nurse. The competitive program accepts only 75 of more than 500 applicants through a rigorous and intimidating interview process.

“You have to go in, you have to do a two on one interview, and you only get five questions,” Padgitt detailed. “You don’t know what the questions are going to be except you know one of the five is, ‘Why do you want to be a nurse?’ And that’s about it. So, you can’t prep.”

Padgitt did all that she could to prepare, but she had a secret edge. She joined SLT’s youth troupes as a Young Artist and continued through high school. Padgitt credits her ability to think quickly to the improv training she received from SLT Executive Director, Beth Domann. Once her interview questions were complete, the two interviewers asked her to stay.

“They take some notes and I’m sitting there for like another five minutes and they look up at me. They go, ‘That was one of the best interviews we’ve ever had, and we want to know why,’” Padgitt laughed. “I was like, ‘Well, I was raised by a national speech and debate champion, and I also did theatre my entire life where every other week for four years of my life, Beth Domann made me play improv games that I was not good at.’”

The first call Padgitt placed to celebrate were to her parents and grandmother, but after family, she called Beth Domann and Lorianne Dunn to thank them for the theatre training that prepared her for her new career. She says she still uses those quick-thinking skills in her daily work that has serious stakes.

“I’m pretty sure that’s why off the fly I can talk with people. Especially in nursing. I’m advocating for my clients and their families and their well-being,” Padgitt beamed. “The person I may be talking to doesn’t have the same idea of what is right for my patient or what is safe because they have an intellectual disability. There’s a lot of times I have to get people on my side. I have to use those skills to advocate for the rights of my clients.”

When Padgitt returned to Springfield, she balanced SLT productions with her nighttime schedule at the neurotrauma intensive care unit at Mercy. Padgitt admitted that schedule was “kind of crazy,” but she has now spent a decade as a community RN.

Padgitt feels it’s important for people to have a creative outlet, but days can be long caring for patients then rehearsing 5:30 – 10pm. She is also on call 24/7 for her clients. She has even answered emergency calls “multiple times” backstage.

” Opening night [of ANNIE], somebody fell. They had to call, and I had to go through the protocol then be like, ‘Okay, you’re good.’ It’s also never failed, no matter what show I am in or helping with, I become the nurse for the show.”

Although Padgitt has a very different day job today, she remains grateful for the performance training she received at SLT.

“Sometimes I feel like I basically have a minor in theatre because we got that level of education at such a young age. And it’s that level of respect, that’s something we really learned,” Padgitt reflected. “That discipline and that respect and learning how to advocate for yourself and ask questions and do it politely. All of those things definitely play into my life as not just a human, but definitely a nurse. I use it daily and I’ll probably continue to use it and it’s nice to have in your back pocket to tell people, ‘Well I can also dance.’”

Tickets are available now for ANNIE at Springfield Little Theatre.

Lawren Askinosie Shares How Stage Training Helps Her in the Chocolate Business

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Lawren Askinosie’s curiosity and critical observations have always inspired her to engage in her community. Her interest in culture and the arts led her to Springfield Little Theatre in grade school where she enrolled in classes and summer camps.

Askinosie has always had a unique way of looking at the world. When recalling her time at Springfield Little Theatre, she professed an affinity for one of the most notoriously intimidating stages of performance.

“I can remember all of my auditions pretty vividly. I loved them. I really loved auditioning,” Askinosie said. “It completely freaked me out, but I really loved it. I so believe auditions are one of the best things a kid can do. I wish there were more opportunities for people to get a chance to be that vulnerable and put yourself out there.”

Her appreciation for nailing a good audition can likely be attributed to her rigorous commitment to preparation. When Broadway hit ANNIE was announced as a title in the 2001-2002 season, Askinosie locked in on the title role and worked with beloved musical director, the late Grady Affolter, on her rendition of ‘Tomorrow’.

“I was so, so utterly focused and obsessed with wanting that role,” Askinosie laughed. “I remember working for months with Grady before the auditions. Just practicing and practicing at home. Like I was so nervous for the auditions, and they were so much fun. For my 11-year-old self, it was the most amazing, wonderful thing that had ever happened to me thus far.”

Askinosie won the lead role, splitting the part with Kylie Stack Jackson. The hours she spent training her voice with Affolter impacted her in more profound ways than simply learning music.

“He was a huge part of my theatre experience and preparing for auditions. I had no clue what I was doing,” Askinosie admitted. “I just have such fond memories of him and associate him completely with my time at Little Theatre. Since I saw him weekly for years, he was almost like a grandfather figure to me. I didn’t really have a grandfather in my life. He was such a big part of that.”

With roles in HOW TO EAT LIKE A CHILD and FIDDLER ON THE ROOF under her belt, Askinosie was accepted into Y.E.S. Troupe where she expanded her education. The competitive performance company exposed Askinosie to more acting styles and techniques. She didn’t always feel confident in the new challenges, but she said that alone helped prepare her for a life in business and service.

“Just gaining the confidence, but also the opportunity to really suck at something. To really suck at it and keep at it. That’s an important thing to learn,” Askinosie acknowledged. “I remember [Education Director] Lorianne [Dunn] would have this incredible choreography, and I would just flub it sometimes. I loved the acting, the singing, the dancing, all of it, but I was more of a singer than any of those things. The dancing, I always loved, but it was not my thing. But it really taught me how to not give up on things. And watch yourself be terrible at something and keep going. Not to mention just thinking on your feet.”

Today, Askinosie’s compassion and creativity has guided her to embrace a global perspective on community as Chief Marketing Officer for Askinosie Chocolate. The company, founded by her father Shawn Askinosie in the mid-2000s, has been applauded for engaging in fair trade practices with farmers in Ecuador, the Amazon, Tanzania, and the Phillipines.

“Even though I didn’t go on to do anything professionally related to theatre or performing arts or the arts, I still use things every day that I learned [at SLT],” Askinosie reflected. “I do a lot of public speaking. There’s no way I would be as comfortable if it weren’t for my time at SLT.”

In addition to her demanding career, Askinosie is a published author, board member, and mother. She raises her two children in Austin, TX with husband, Scott. Leading a company with global impact requires a great appreciation for each person that contributes to crafting an award-winning chocolate bar. By engaging in different areas of the theatre, Askinosie developed an understanding of working with others toward a larger goal. Sometimes that meant trying new things in front of an audience.

“I would be so sweaty and nervous because I hated improv and it was so good for me,” Askinosie confessed. “It laid the foundation for knowing how to think on your feet, which is a constant thing I need as a small business owner and a mom and a board member. I can just recall things during performances where things went haywire and everybody had to adapt, which was something else that I learned at SLT. Teamwork. How to work together with a group of people and adapt quickly. I think all of those things made me just a better citizen of the world.”

Beyond making delicious chocolate from bean to bar, Askinosie supports Springfield students in learning business and foreign relations through Chocolate University. The organization is committed to lifting the lives of each person who contributes to their products and the community around them. Askinosie found the seeds of this passion for engaging in the Springfield community at SLT.

“I think the theatre teaches you that we’re all in this together and we help each other. Frankly, I feel like it couldn’t be more poignant than right now with what we’re all facing as a country. There are things about my time at SLT that I am just so grateful for,” she said. “The people and the place and what it gave me and taught me. I wish every kid had a Springfield Little Theatre. I can honestly say I have not found any other place like it. Now that I’m a mom, I wish it’s something that my kids had.”

Askinosie travels the world connecting with the farmers that supply their cocoa beans. The commute can be taxing with frequent challenges and delays to reach the remote locations. However, the direct relationship is critical to her family-owned business. Engaging with people of different backgrounds has been a priority to Askinosie since childhood.

“SLT created a really important foundation for my self-worth and confidence, but it also made me a more inclusive, open person. From a really young age, I was around people who were different than me, which was not an easy thing to do in Springfield, Missouri at that time,” she noted. “I’m incredibly grateful for just that exposure to people of all different walks of life and kids and adults from all different walks of life. I think it really just made a very lasting impact on how I relate to people in the world. I am really grateful for it.”

Explore the Springfield Little Theatre 91st season kicking off in September with ANNIE.

“Anyone Can Sing” with Help from Former SLT Music Director Cynthia Lawrence Heister

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Music educator and director Cynthia Lawrence Heister can turn anyone into a singer, and she has the track record to prove it. Many of her students have found themselves at callbacks to sing for a part they thought was out of reach.

“Anybody can sing. I hope you took that away being in my studio,” she reminded me as her former student. “Anyone can become a better singer.”

Heister spent two decades strengthening, encouraging, and sculpting vocal talent in the Ozarks. She lifted a generation of Springfield Little Theatre students who dreamed of a future in the arts.

Rather than selecting only the most talented singers for her studio, she was inclusive of anyone with an interest in music. Her approach, however, was targeted and customized for each individual voice.

“There’s always a space on the stage for all levels,” Heister emphasized. “I think that’s one of the things that I’m most proud of is the people that I worked with, the kids that I met along the way. Watching them grow and some of them go on to have a fabulous career in the arts. Others who just have a lifelong love for what they did and being a part of that. I’m still doing that today.”

After graduating from college, Heister began singing in St. Louis. The big city was demanding and financially challenging as a recent graduate in the arts. She relocated to Springfield and looked for performance opportunities. The lights of the Landers drew her in.

“Honestly, I didn’t know as much about the theatre until I got involved with it. I just knew that it was a beautiful building,” Heister laughed. “They did shows. So, I threw my hat in the ring. [THE MYSTERY OF EDWIN] DROOD was my first production there.”

Heister’s big voice and technical training landed her on the cast list. She cherishes the show for introducing her to lifelong friends.

She continued performing in SLT productions, including GODSPELL and THE BEST LITTLE WHOREHOUSE IN TEXAS. Over time, she became more creatively involved, collaborating with other SLT performers in the community.

“Even during the time that I was performing, there were a lot of side gigs that we would put together like the murder mysteries,” she recalled. “We worked with Clary’s [restaurant] and other establishments in Springfield where we would write do cabaret shows. It would be a musical and a troupe of us – Sandee and David DePriest, Brooke Stephens, Derrick Jarvis, and Helen Traphagan.”

As Heister established her professional life in Springfield, she began teaching, which led her to establish her own voice studio and lead choir programs in the Ozark school district. Meanwhile, the theatre was looking to expand education programming. For decades, on stage opportunities for children had been scarce at SLT.

“At that time, they were developing the education program,” she explained. “I came into the picture when Dorothy [Lemmon] was doing education and we did all the summer workshops and developed, especially the preschool program and younger ages.”

This expansion into children’s programming came at the right time for Heister’s family. Her daughter, Emma, was born during a run of Summer Stages. She still jokes with friend and SLT Executive Director Beth Domann about accompanying a group of students on the piano while in labor. Once her daughter was born, it was natural to integrate her family into rehearsals.

“One thing that’s great about Springfield Little Theatre is that your whole family can be involved at whatever stage you are in your life,” Heister reflected. “When I was single, it was a lot of fun. I had the time. When I had Emma, she went with me. When I was directing shows, she would sit down at my feet and play with her Polly Pockets while we were on stage putting the show together.”

Heister credits SLT with giving her meaningful opportunities that were flexible as her own life grew and changed.

“I can’t describe the impact that the theatre has had on my life and shaping who I am. Not just as a performer, but being part of the community, a patron of the arts,” she praised. “The skills and the family and the community that I built still impacts me today. I walk in the door of the theatre, and I am immediately overcome with emotion being in that space.”

Throughout her time at SLT, Heister was involved in music directing and coordinating musicians for smaller productions on the – formerly – Vandivort stage and raucous roasts where local celebrities volunteered to be the butt of jokes for fundraisers.

When the late Grady Affolter fell ill ahead of PETER PAN auditions, he urged Heister to take his place as music director for the mainstage musical. Heister admits that she doubted herself, but she took the leap.

“He had encouraged me like, ‘You should do this.’ I was like, ‘I don’t know,’” she recalled. “I don’t know why after I had been involved for all those years, that seemed like a major jump for me to go to the mainstage. That began my collaboration with Beth and Lorianne [Dunn].”

After a chapter of performing, then another working in the education department, Heister moved solidly into mainstage music directing on productions like WIZARD OF OZ, SEVEN BRIDES FOR SEVEN BROTHERS, ALWAYS, PATSY CLINE, and BEAUTY AND THE BEAST.

Eventually, Heister and her family relocated to Cincinnati where she was accepted into a Master’s program at the prestigious University of Cincinnati College-Conservatory of Music. Heister recalls writing about her experience at SLT and admiration for its robust programming for her application essay.

“It’s just unbelievable to me that a city the size of Springfield can mount these types of productions,” Heister admired. “Draw the quality talent, not just from the performers, but everything. The set design, the lights, the technical design, the people working backstage, and it’s all volunteer. It just blows my mind the caliber of performers they continue to produce.”

Training at CCM prepared Heister for a new phase of her career. She began teaching in an urban district in Cincinnati and is now with School for Creative and Performing Arts. The building serves K-12 and is a public school focusing primarily on arts instruction. In addition to working in the vocal department, Heister serves as a collaborative pianist.

“I love what I do,” she gushed. “One of the greatest blessings in my life is that I’ve been continuously surrounded by incredibly talented people. All ages and different focuses. I’m just happy to be a part of that.”

Heister is now well established in Cincinnati with her husband, Jim. They recently traveled to Europe to visit Emma, who acquired her own master’s degree. Heister’s stepson, Nico, studies nearby at Xavier University.

She speaks about her life with a joyful peace, but she still occasionally heeds the call to visit SLT. Most recently, Heister visited to assist with a vocal workshop and returned this summer to give vocal guidance to the young actors in ANNIE.

“I was back in the spring for a bit. I did a vocal workshop. I had a couple kids sing for me, and I got up on my feet and did what I do with them,” Heister explained. “It was just really fun to work with those kids who are so hungry and want to learn. They pick up and they’ll try anything. It was a great day.”

Explore education opportunities at Springfield Little Theatre.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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!

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